Game Assets in Blender: A Complete Workflow

hey guys i'll make this quick so this video is going to be very long because i'm going to be going through the whole process of converting a blunder asset into a game ready mesh baking texturing the whole nine yards so we end up getting this high poly piece and we're going to decimate it down into this low poly version which um what goes from about 130 000 tries down to about 16 000 with bevels and about 6 000 without bevels so a crazy decimation process i'm going to show you how you can use n-gons and game assets anyone who's saying you can't is um not telling you the complete truth we're also going to show you how to bake substance paint or texturing this isn't going to be like a traditional tutorial but you can watch how i approach it so sit back split this into a few sessions if you need to i know it's a long video but i think it'll give you a lot of value and make sure you download our free game asset guide it's a little pdf that you can kind of refer to whenever you're making your own game assets i use it all the time so you can grab that in the link in the description anyways let's get started so we're going to be converting this little sci-fi laboratory door i made into a game ready asset current issue in the state center right now is this is not prepped for game engines at all it's not optimized nothing if we go to the scene statistics you're going to see we have about 178 000 tries which is way too many so the goal here is going to be to take this down to a lower poly retain the high poly unwrap it do all that good stuff this will not be a tutorial this will just be me working and commentating when i'm doing kind of master xeon 1001 style so this won't be a normal tutorial don't expect my usual teaching methods because it's just going to be me working so you can kind of study what i'm doing this would just be too long of a process to do a tutorial on if you want to learn more in-depth stuff i have other videos on that so i'm just going to get to work here so basically i want to take this entire mesh and decimate it down to a lower poly version so i have a collection right here for the high poly and i have nothing in the low poly because i haven't started on the low poly so um what i generally do is i just start piece by piece what i i take this piece duplicate it move this to the low poly and then we can hide this piece just to kind of indicate it's done and kind of get to work on this so kind of the way i work is i create the high poly first and then do the low poly after because um some people do the low poly to high poly strategy i think it's a lot more or a lot less versatile because if you start with a low poly you have to build on that form and you can't add additional form so i like doing the high poly i can work as free as i want and then decimate it down later so i also try to keep everything as non-destructive as possible you're going to see that a lot of these details right here see all these details a lot of these instead of having to for example these little bolts right here um that was pure luck it was that one but for example if i had had these little bolts applied these details can be baked so they're just taking up unnecessary geometry counts so if these were you know applied i'd have to go in here and start dissolving vertices and things like that but if you're working non-destructively you can just remove the boolean like that and you don't have to do any extra work so generally what i do is i go in here and i look at detail that could be baked and i just remove it so for example these details down here could be baked i just gotta find which is which i could probably just use the ever scroll function to find it but i'm just gonna get in here okay number five and six those can be baked especially you know cuts like that on planar surfaces you can easily easily bake that detail so this is boolean 2. i'm going to remove that and you can already see it just kind of becoming a much lower poly version of the original mesh i don't know if there's too much extra detail here that could be baked out you have to be careful for example you can't bake that um no clue what in the world those are just going to delete that i guess and then i just keep cycling through and kind of figuring out exactly what i can and can't bake for example um this detail right here can't really bake that let me zoom in a bit to take a look yeah i can't really bake that stuff yeah i don't think there's anything else i can bake so at this point what i'm going to do is come in here let's power save we're going to smart apply all of our booleans let me move my mic a bit closer here and um i do mid poly bevels mid poly bevels look a lot more natural because if you have no bevel at all the edges are perfectly you know hard but if you have a nice soft bevel they look better so i just use a one segment bevel the poly count is higher you can see right now there's thirteen thousand tries or if i were to remove it it's about seven thousand but with the way modern graphics cards are nowadays it can handle the extra count very easily and i think the improvement in quality is simply worth it but it doesn't matter too much whether it's you know off or on i just prefer it this way and i have videos on mid poly bevel strategies but i'm not going to discuss it too heavily in here i'm just going to kind of work it's really straightforward a mid poly bevel is just a one segment bevel okay so you're going to see for the low poly we have way too many segments on you know these bevels here we could easily come in here and um [Music] if i can actually check or deselect we can easily come in here and dissolve out some of these edges and just make it a bit lower poly and if we do that to all of them it's going to have a really big impact on the triangles my guess is we're going to get down to 4 000 ish triangles i'm not sure that's just a guess but anyways this is just a very easy kind of therapeutic thing you can do let's just get in here and dissolve out this stuff now i want to go to checker deselect and assign a shortcut to control q which is the default quit blender but who wants to quit blender i just removed that and i can come in here and control cue everything and um just make these bevels a bit lower poly it's gonna really come in here control q q it's a lot easier than having to go to select every single time so control q like that and you're going to see we went from like what 12 segments to 4 and that's gonna really start saving us a lot of poly count especially as we go around here and take care of these other areas and we're gonna actually i don't wanna get too far ahead of myself here all right we're gonna come in here i don't need these marked um control q i'm gonna have to offset that by one then we can just do that area manually and you're gonna see right here kind of what the bevel does this is why we're going to end up using a weight for the limit method but we can deal with that when it comes around so let me come in here control q control x control q i'd really recommend just assigning a shortcut to you know when you're trying to decimate these bevels down a bit and you want to be careful to not hit the holding curvature edges here that's why i end up actually offsetting the area by one and we actually get something a bit more um what's the word i'm looking for a bit more pleasing okay i'm gonna do that you can just see how quick this process really is so that's why i don't mind it does it take a little bit more time compared if you just had the low poly created than built on it yes but rarely is that the final form i'm gonna end up wanting so that's not a strategy i actually prefer to employ you know there's so many different ways you can do things and if something works better for you then by all means but this is a strategy that i i've been using for a while now so i just really want to get in here and do things as i normally do it because it works for me very well i'm gonna do that just going to unmark those and grab that cool let's dissolve this one maybe slide that down a bit i don't know it should be fine and uh control q these right here one more time awesome so yeah the goal here is just to really make this thing as you know low poly as possible and that's gonna be good for our bakes and stuff like that now this interior area my guess is we can delete it out because there's gonna be a pipe kind of hiding that but you're going to see this kind of like a little opening you can see through so i might avoid doing that i already did a run of this thing and i realized it probably wasn't the best choice so instead of deleting out this back area i'm just going to go for my good old checkered deselect so we're just going to get in here and just try to select this area as much as we can this would be a good time to have my pivot around cursor setting turned on but i really can't stand that setting it just annoys me so i think that's everything let's check yep gonna ctrl q and do the same thing here it's a bit hard to see inside here but you know it's all right i'm gonna get in and control q and i somehow missed this selection which isn't which isn't a huge deal so we'll get in and just dissolve these guys out and you're gonna see these are a bit close so we're just gonna merge these together it's not going to really hurt the curvature all that much so i'll just do something like that i'm using machine tools to merge things quickly by the way if you want to use the add-on it's free it's fantastic tool and we'll just merge that at the center it's probably fine yeah it looks good cool okay so we have that this is a lot lower poly which is perfect i'm going to do this one a bit more manually so we're just going to get in dissolve out every other area and take care of this one i probably shouldn't even bother removing these markings because we're gonna have to do that again later anyways as you'll soon see so we'll just leave it if anything i could just ctrl shift click to resharpen and do things that way but yeah just too much too much blue for me right now i'm gonna do it deal with that later all right same idea here really got to go in and dissolve you know i was um what was i about to talk about i was researching some laptops yesterday i'm thinking about getting one of those um alienware 17-inch ones so i can kind of have like a portable workstation now trust me i'm not a fan of uh working on laptops but i think it'd be pretty cool to not have to be on my desktop out all the time i could you know go work at like a coffee shop or something or i don't know go on a trip somewhere and work that way just thought it'd be kind of cool so aside from this stuff that's kind of what i was been doing recently is the thing is these gaming laptops are so expensive but i need the performance for the work so it's like you know it's kind of a trade-off you have to make there in terms of like do you want to spend the money well i probably do if i want to have a good mobile workstation so i'm thinking about getting one but if there's any like better laptop recommendations you guys have let me know because the ones i was looking at were like three grand which is a is you know quite a bit pricey so i really want to make sure i'm actually gonna end up using it consistently to justify that price because that's i could probably pick up a 30 80 or 30 90 at this at that price assuming the scalpers aren't running ramping again i'm not sure they probably are okay let's go in here and power save i'm gonna dissolve that out because should i i don't know i think i'll leave it okay this is easy control q ctrl q okay we're going to come in here and do this one a bit more manually just like that okay control q and then control q again you're going to see this is already a lot lower poly the triangle count right now is with the bevel of 6k without is like 5 something so we've already pretty much have this in just a few minutes of time and one thing i know a lot of people are gonna ask a lot about is well what about the n-gons and my um sarcastic response would be like well what about them but as a teacher i can't feel i won't feel good doing that so uh you know the real answer is they don't matter if you know how to handle them for a static game asset that won't be deformed and guns are totally cool and i'm going to show you kind of my process for dealing with them because you can't just leave ngon's willy-nilly and export it and hope it works it's not going to work like that there's some very clear steps you have to take to um actually use n-gons in your mesh if you want them to be compatible or at least you know shade properly in game engines and eventually we'll be doing a triangulation portion in this video to show you but um the simple answer is n-gons do not matter for static hard surface game assets but if you want to start deforming stuff or do organics or all that jazz it's gonna be uh a lot less um or it's not gonna be possible at all really so i'm gonna come in here and get all of this why aren't these selecting it's because i'm zoom in zoomed in too close see how it's like stopping here is that like a clipping error i'm not sure try point zero zero five maybe yeah i think it's a clipping error i don't know okay why does this not want to select come on now okay i'm gonna get in here and just i should circle select i don't know i'm using box select so much i think it's really just out of habit i use you know box select so many times that it's oftentimes just easier to do things that way but um it's also not the best this is where pivot around cursor would be good maybe it's the orbit around selection is that the right one i think it is yeah i think that's the one see it just it just annoys me the way it works it's not like a bad thing but i just prefer turning that off it's just annoying to me but in that case they're just easier to use okay i'm gonna offset this by one and then just do this one more time um dissolve that out and there we go a lot lower poly and what do you know i missed an area jeez this navigation is just annoying the hell out of me okay gotta make sure i get this area so let me just go in and box select control q dissolve dissolve that again and just kind of merge these together some of these are pretty close by cool then we'll go in and power save i always like to have backups in case i make like a severe change you know some people might be wondering why don't you just go in here and use quadri mesh or something like that and the answer is although that add-on is good for a lot of bullying cuts like this it's not the most accurate i could even show you if we you know resize this to 5000 and detected it by hard edges it's actually not going to give us the most clean result it's okay right but you're probably gonna need a much higher quad count to even get something remotely functioning we could try like 15 000 [Music] and play with the adaptive size a bit i'm still kind of you know haven't used this add-on too much but things just are not as accurate so yeah that's why i don't use quad root mesher plus in my opinion you can just get a bit better results doing things manually i guess it depends what you're doing but um the last thing i plan to do with this thing is reach apologize in the quads manually at all because running triangulations does everything just as easily and you don't have to deal with all that retopology stuff and sub d if you if that's right you choose to go just a waste of time you know there is something to be said about mesh tessellation whenever that becomes a big factor but i i think it's there's so many factors and depending on the workflow you're using and what your goals are that there's simply no all incumbency all encompassing excuse me answer so i choose to not assume and do something like that okay control q got to offset it i wish the offsets would like detect those holding edges there and i want to have to offset it each time but you know what can you do and already this thing is looking superb we do have this massive shading stretch right here which we can fix by just marking these right here so we'll we'll eventually do that later i'm not going to stress it right now but yeah we're going to eventually have to deal with that we're going to deal with the shading issues potential artifacts all of that has to get taken care of literally all of it if you want to have a decent result so we'll eventually get that done we're almost done with this actually we just have to get in here and what in the hell is this well i have absolutely no clue what happened here some sort of weird like oh i see it's a result of this little combination problem occurred but we'll fix that okay i'm going to come in here control q offset dissolve i'm really curious what the poly count came down to at this point it's got to be like at least at the very least double and i think we already noticed it was before oh that's no good okay this is probably i used an incorrect amount of bevels right here i think and this is why you always want to go with an even segment on the bevel modifier because then you end up getting these types of issues so i'm going to have to come back in here and snap this back up to the correct spot and do that offset and then offset again and we're almost done here i feel like i could time lapse through here but i also think there's something to be said about you know showing the entire process on video i think it's something people kind of enjoy it's like a it's almost therapeutic doing these types of things just watching you know topology get cleaned and i think we got just about everything here let's just you know take another look we want to make sure we clean it up as much as we could um these little let me go into cavity this little kind of border right here could be baked so what i'm gonna do is delete the verts and then what we can do is take advantage of those quads going around and just hold the f key and then dissolve out these these could all be dissolved out a bit more like that same with this area and this area and then for this little crevice right here we can do the same thing take advantage of the quads we have going on hold f and then dissolve that out because that detail can be baked as well cool so i'm trying to think i don't think we should dissolve these areas out because it's just going to look way too faceted in my opinion if we dissolve that it's not terrible but i think i want to keep the curvature as it is i think it'll just be a much better choice overall now what i could do right here is ctrl t alt j these areas to run the quads through and just you know keep the triangulations kind of forced for later on and we'll just check the inside here as well see if that needs taken care of looks like those are good so could i technically come in here and maybe create some end guns that use things sure but it's just so insignificant in terms of poly count there i'm just gonna leave this one alone okay cool so what is this let's define these sharp edges here and hopefully fix that okay so take a look here 3327 triangles on this one with a bevel without it we're at like 2.6 k and that's fantastic that is way better than what we had before which is like well over ten thousand i don't remember the exact number but you can go back and look so um at this point what i want to do is get all the hard edges marked with a bevel so that way we have a nice see the difference bevel versus no bevel this just looks nicer so what i need to do is um first of all control tilde on hard ops b weight and sharp then re-sharpen this area and you're going to see it picks up the angles based off of 30 degrees but that also means it gets some undesired selections like this and that's um personally not what i want so this is where we have to get in here and do a bit of manual unmarking because then we're going to get like you know these areas where these are marked we're going to end up getting these double bevels going on it's just going to add an extra poly count you can kind of see the difference there so yeah that's kind of like a trade-off we have to do for this method is we have to come in here and just make sure any weird areas that got selected get deselected but it's not too big of a deal it's act actually quite fun if i'm honest okay let me power save or actually i'll do it after i'm done with this okay this area right here we'll get all that on mark get all that on mark on mark okay cool really easy process doesn't take too long at all but the the reason these are getting marked is because these clearly fit the 30 degree threshold of our sharpness markings and if we want to a different value then we might end up not picking up the hard edges we actually want so it's easier to deselect what we don't want than it is to select what we uh do want and also i missed this area so control q control x control q control x twice right there cool i'm gonna need to unmark those and i think the bevel weight strategy is gonna be the best option in terms of versatility for wanting to get these edges marked as you want i'm gonna mark that right there and also let me remove the seams i don't know why i have seams here remove seams and remove creases don't really need those they're just going to be annoying to look at and you're going to see now that these are marked appropriately we don't have this shading stretch anymore when the bevel modifier is on and that's exactly what we want okay cool and i'm fairly certain i probably missed some areas like that one um this one and i think that's about everything let me also mark this area because that didn't get picked up check the inside check all down here check any weird areas we may have missed like right here for example i missed that one so i'm just really trying to make sure if you miss one it's not the end of the world you know but the goal is to only mark the sharp edges of the b white we also missed one down here going to unmark that i'm going to unmark this unmark and i'm fairly certain that's about it besides these didn't get picked up and if those don't get picked up we're going to have bad shading so we want to mark those and define the shading a bit better we could even mark these right here to pick that up and you're gonna see even though this is low poly it looks still almost very high poly in a way which is you know good and we do have some shading issues right here i could care less or i couldn't care less because the pipe's going to be hiding it so we're not going to worry about it only worry about what you actually need to you know don't waste your time worrying about just petty trivial things that don't won't even be noticed at all i'm gonna come in here and yeah we're good okay so this is the low poly we have a bevel on here like i said you could just go to the strategy of removing the bevel and it would still look okay but i just think the bevel makes it pop a bit more and it makes the triangle count a bit higher but for modern graphics cards who cares cool i'm gonna hide that i'm gonna go back into the high poly and just work on you know other portions here perhaps we'll do like this big area duplicate move to the low poly and then hide that one and just get to work here so as for a detail that can be baked this might bake okay so we're just going to go ahead and try it first of all this needs to be applied that detail let me think not sure how well it'll bake i think it'll actually bake okay it's not like a super obvious area so let's remove it and removing that's gonna actually cause some problems so you know what maybe not maybe we'll just apply it this right here can be baked for sure um i don't want to i want to apply this one but i don't want to apply this one i want to remove that because that can be baked just fine detail here in the back can probably be baked now these types of bakes won't be the cleanest but they will work and they're such small areas that i generally i generally don't worry about it so i'm not gonna really care too much um that probably will not bake this is a wedge you know the areas where you actually have curvature and form these are areas you can't bake these are areas you have to actually apply so when it's defining the form of the um of the shape you have to actually apply it whereas the hole here that was on the top before isn't defining the form this hole here isn't defining the form although if we baked this it would just look awful because of how deep the hole is so we're not going to do that but this isn't really defining the form we could probably remove that and we'll just smart apply off the mirror turn the bevel to one segment set this to weights resharpen these edges and pick up any slack so first of all i'm going to dissolve this out now this is going to have to keep these connection points because it's uh every boolean needs two connection points but um we'll just leave it as is like that so going to come in here control q control q there we go and same for this area we'll just come in control q let me power save as well there we go dissolve that then we'll just do the same thing in this area okay we got to do these separately this is the one thing i don't like about the checkered deselect and blender is it doesn't work um very well it's not super versatile and it's very manual in a way so hopefully one day that'll be a bit improved but it's not like a huge deal i guess you can dissolve that out and this one's super low poly if we turn off the bevel it has 242 tries and if it's turned on it's like 5 600 and whatever so yeah this is just fine we're going to go ahead and hide that let's take we'll take these pieces duplicate move to the low poly hide these and then same idea here well a lot of these booleans aren't doing anything they're part of the slice so you can just apply get in one segment set to weight and recalculate the sharpens and do some work here do some work here oops those were the holding edges got to be careful cool and i'm just going to go in here and symmetrize to save myself some time and then should be good to go yeah that'll be fine okay gonna get in hide that and now we'll do this one just duplicate it move to the low poly and then hide it in the high poly and just got to find that right piece here it is this one will be a bit trickier but a lot of this detail can be baked i think maybe maybe not first of all we got to apply that maybe it can't be baked probably wrong but um this right here maybe will be baked okay whenever i'm here's the rule i go by if i'm not sure and i'm hesitating i don't want to risk it i'd rather just go for detail so i'm going to apply that i don't want to take the risk and end up just having a bad result this right here can be big that little hole right there so we'll remove that this can be baked because it's you know just to cut on a flat surface so this could be baked but it's not going to look anywhere near as good as this geo because of how big it is so i'm going to be applying that those lines right there could be baked i think down here can remove that and i'm watching my roommate's dog and he is out he's having the world's best nap so sorry if you can hear him but uh let's go in here he just popped up right when i yelled him he just looked up he's like what's going on bro but jeez did you know dogs could snore that loud i mean i don't think my mic's picking up that much either but i can assure you he is snoring pretty loud this i don't know how well that'll bake i'm gonna apply it this um let's see i'm gonna apply that as well i don't wanna take the risk and then smart apply the rest segment set to weights just to resharpen it and this this one should mostly um work without having to do too much manual labor here what i am going to do is clean this up this is a lot of extra geo we don't need i'm gonna do all this i'm gonna do that then we're gonna come in here just like that cool and then we'll come up here to the top awesome now these weird edges are part of the auto smooth and most likely we'll just end up having it smooth this way for the bake or you can play with the auto smooth and make it a bit higher and do things that way it doesn't matter too much but i'm just going to go ahead and symmetrize make sure the other side's okay and i think the only other area left to clean up is these little portions so easy enough this is kind of the portion where things just start to get repetitive and boring and you're like geez and um normally it wouldn't be as boring because i'd just be watching like a youtube video or chilling to music or something but um i'm recording a video here which i love recording videos but repetitive stuff on videos is not always the most fun for me so that's alright i i really thought this would provide you guys some value which is why i wanted to record something i could have done this off camera but you know whenever i see an opportunity to teach somebody something i always try to take advantage of it because everyone wants to learn and i enjoy teaching and at the very least sharing what i know which is not everything but i do know quite a bit in blender so i like to distribute that knowledge with everyone and you guys seem to enjoy it so thank you very much for watching i do appreciate the support i'm gonna come in here and i'm really getting tired of these incorrect offsets getting selected oh my goodness what in the hell happened here okay well you know i'm kind of glad when these situations happen because it presents us a really good opportunity to teach something uh this was something with a bevel something up at the bevel here and isn't working so instead of you know worrying about it we're just going to fix it so let's come in and this is where it is understanding how to manipulate topology can be a pretty useful tool and just you know while i'm here i might as well take advantage of this um selection there we go okay cool so things are really easy to fix once you understand how you can delete things and how the forms work when you delete things so it's a really easy fix and i don't really stress out whenever one of these weird issues happen okay these are the these connection points are absolutely awful so what i'm going to do is just run in here with a knife cut and then do that so i can dissolve those areas out cool and what we're going to do is hang on a sec okay the edge is already there so i'm just gonna take this and move it up just so that way we have some consistency going right and then we should just be able to fill that in and there we go things have been fixed and i think that's you know some of the best value you guys could get from these videos is not just what i'm doing here but also how i'm fixing problems when they come up because it's a really important skill to have is to diagnose these issues and know how to fix them that's why i always say add-ons are great but also a fundamental understanding of the tools is um you know equally as important so come in here offset offset there we go that can this can get deleted as well or remove or maybe not no those can't forget it cool and then we can just symmetrize to save ourselves half the time and i think this one is done let's check for any weird markings which i don't believe we have so this one is 2.1 without bevel 3.4 with bevel it's a bit high but there's not too much left i mean i could come in here and maybe do some additional work probably not going to change too much oh well i forgot about this right here so let's get in here this should actually save us quite a bit of poly count if we can really get into this one and then just dissolve these areas out a little bit there we go that should at least save us a little bit more we can dissolve that okay there we go down to 2.1 so that was where a big problem was coming from that will be fine without bevel it's 1k so that is totally cool going to come back to the high poly and what else could we work on maybe this piece right here actually let me delete these decals i don't actually need them and why are they still here interesting for some reason these decals got placed in this collection i'll just remove those remove these decals are good when you're doing just regular blender stuff but not in here or rather not for game assets so just kind of in the way i'm gonna get rid of all that okay awesome did i okay i didn't remove this one yet so shift d move to low poly hide it and then hide this one in the high poly then we can just get to work in here find this one we'll do one segment set it to weights recalculate and make sure hard to normals is turned on to avoid that weird kind of faceting chamfer look and i don't know what happened here exactly something got merged somehow some way so once again don't stress the problems you run into just fix them let's go in here and join there's usually a clear path to solving your problems much like we have here cool okay this one we're going to have to do a bit more manually because the checker deselect won't be an option but that's all right we do that and for some reason it's even worse over here and then just get in and boom there we go and that is about as low as we're gonna get i don't know if maybe i can delete out some back faces uh not too sure not gonna worry about it i'm gonna get in here and hide that and we're actually making some decent progress here we don't have a crazy amount left to do this window just in my way and is annoying so what i'm going to do is work on that one i'm going to come in here and this one's easy enough to work on we'll do that let's also set it to weights and we don't need to recalculate anything it's already marked properly and boom that one's done cool all right now what else do we have let's do these little cylinders because cylinders are by far the easiest to work with so we're going to come in here so we're going to do that and recalculate those set it to weight okay so for this one we're just going to come in here and control q control q i don't think i could get away with another one it's going to be too faceted and i want to make sure the bakes still turn out somewhat decent and why did these not still oh they didn't select all the way through because i didn't select them okay let's get in here and first of all do something like that and then we're gonna have to get these so i'm not sure of a quicker solution to these so i'm just going to quickly go through and select unfortunately you know there are some tools i really wish could be you know more ingrained into blender in terms of these type of selections so i don't actually know of an easy way to that this would have to be like some sort of algorithm detecting the offsets going on and things like that and i simply don't know of a current solution to that type of situation but i suppose it's not a huge deal i'm not going to stress it let's come in here take care of this and this we're just going to do manually because checker deselect will not want to work as intended in these cases so we're just going to get in it only takes like what 15 seconds to get all this and i guess time will add up but there's not too many cylinders on this one we can make this even lower poly for sure so and this is saving us a lot of poly count i mean just think of all the vertices getting removed at this point it's quite a bit okay gonna have that you can have that that one's done now we just have to deal with this side right here now i'm not too sure what's up with this oh that's just an edge we can get rid of okay so i'm gonna come in do one of these again there we go and let me show you a trick for this one so instead of going in here and you know deleting every single one of these right here i think a much better solution for this type of situation would be to delete out these faces and i was hoping the dissolve would work on those vertices okay i'm going to finesse this because i don't want to go in here and dissolve all these out manually it's going to take way too long what i am going to do is what's up with this oh i see okay what i am going to do though is come in here just run a random cut like that delete out these right here all these faces that should work and then i should be able to just go in here and do a similar thing on this portion delete those faces and then delete these this is just like the best way i can think of fitness in this situation and we can do that do this delete it and then bridge everything so bridge those edge loops and i think that out that area will bake just fine anyway so we're going to leave that and go ahead and hide it and get back to the high poly and really just get back to work here some more cylinders going on so what i'm gonna do is duplicate these move them to low poly hide these here and i'm just gonna do one because then i can duplicate it up and move it so this will be a really easy solution here gonna get in oops wrong one do something like that and we'll come in here and go into face mode then edge mode then check or deselect then i thought it would detect all the way around see that's just the the annoying thing about blender is these selection choices there should be something a lot more versatile in these types of cases but there's not or at least none that i know of so we're going to come in here and now we just have to take care of these so i'm just going to go in and um and i actually thought of a much better solution we could go in here and shift g to select the amount of adjacent faces then dissolve it out that way and then run some face fills by clicking f and automating it and that would actually be a lot quicker now for this interior area this could actually be baked so we're just going to fill that in manually um we'll just literally delete out those faces then fill this in and um extrude s 0 like that removed 0 vertices okay i guess we're good and we're just going to do this one right here which is incredibly easy this one is literally just a double checker deselect dissolve and then we're good to go and i'm just going to delete the actually before i delete it let's just duplicate these up and hide those delete those and there we go cool so that's done i'm going to go back to the high poly we're actually making some decent progress we're not too far away from the completed result so this latch is going to be a bit complicated i think maybe not 100 sure it's actually already pretty low poly if i'm honest let's duplicate it and move to the low poly and then hide that and just see what we can do here i know for sure we could at least go in and dissolve out some of this area you know there's got to be something we can do to kind of make it a bit lower poly i'm also tempted to try to actually bake out that detail i think that detail might actually bake pretty well because of how flat it is so i'm going to do that i'm going to delete out all this interior stuff that's going to save a lot of triangles for sure i'm going to also just alt shift click this whole area we could do select select sharp edges and then just deselect these areas delete those vertices and then just fill in this portion and that should actually bake just fine so let me go in here and alt h yeah that's totally going to make fun so we're going to do that i'm going to hide that and for the door underscore high there's there's another latch down here so what i should have done is um let's go to this one and shift d to move it down and then just overlay it save some time there and this one can be hidden okay cool we're gonna go to this one and this one just duplicate them or maybe not maybe we'll just do one at a time to avoid any potential issues i'm gonna get in here there we go awesome okay i'm gonna hide that duplicate this one smart apply all that stuff move it and this one can be cleaned up just a bit more as well okay we'll go in here and then offset that of course okay cool and then just a few more up here you know i'm so focused that i realize i'm not even talking about anything exciting you know whenever i watch jerry's videos i always notice that he has this knack for just although sometimes he goes on the funniest tangents he has this knack for just talking about stuff as he works and for me that's actually a bit more difficult perhaps we're just uh it's the way our brains are programmed i'm not sure but that's something i need to work on i think let's do three segment segments on this one and then resharpen it that's actually one thing i forgot to do on the other pieces here but i think this detail is already baked in maybe no it's not so we'll do that harden the normals recalculate and also this should be this outer miter type should be set to arc make that a bit cleaner and for this one once again one segment we'll be going through this just to correct everything later on but i just thought about that right now so i decided to do it okay now we just have these pieces right here um let's see duplicate move turn off the high poly this one just going to need a full on smart apply get rid of all those bulls one segment wait and recalculate which happened to rhyme come in here do that do that and then we just have all these on the inside cool oops control q will do that and then we just have the upper portion it's always more exciting when you get close to the end because eventually it's just like come on this process is so repetitive i'm just ready for it to be done and we're kind of nearing that point okay this will be too faceted if i remove that so i'm gonna leave that go ahead and hide it it's just these small pieces that are annoying we're just kind of repeating the process um we'll take this one we'll move it let's smart apply everything one segment wait and recalculate and what i actually want to do is duplicate that one down and just overlay it just to save some time cool and now we're just going to do the same thing really get in here we'll offset it cool and then we have something like that all right this is a bit of a problem i'm gonna have to cheat and move that out a little bit because that might cause some issues later on down the line might cause some big problems but this is a compromise i have to make right here because this just um this won't this isn't gonna slide in that manner okay gonna duplicate this and just move that's right about there and delete the other one and just call it a day for those hide that and hide that cool then we have this piece and then just a few other random ones and these ones will be the easiest by far because those don't have too many curves going on so i'm going to duplicate this and move it to the low poly and smart apply weights one segment recalculate someone needs to make a rap song out of that call it like shape and recalculate or something has anyone made a blender rap song yet i know um cg matter and curtis halt had in this little rap battle going on several months ago which is quite funny but i'm anxiously awaiting an actual blender wrap i'm gonna come in here get all this whoops going to make sure i get all the selections going on one two three one two three one two three one two three cool so that one's done awesome so this one needs to be hidden there's these little things right here not sure what they are some little belts or something and these will be easy we just got a smart apply eventually the unwrap we're going to have to keep the mirror but for now i'm just trying to compromise on this area and this will be a really easy cleanup dissolve some of that out cool and then just get in here cool that one's good awesome so we have that we'll just uh hit it with a symmetry symmetry over i guess we're gonna have to do mirror over the cursor aren't we then apply the mirror okay cool so we're gonna hide that get back in here this bar up here is really just bothering me so i'm just gonna knock this one out because it'll be easy enough so duplicate it move it i'm getting kind of quicker at this aren't i i don't know how well that'll bake i don't think it'll bake well at all so i'm just gonna get in here wait sharpen it again and um you know this could actually be dissolved because this little indent would bake just fine as well so i might as well just get rid of these extra edges that aren't contributing too much shouldn't i and just make this really really simple okay that's kind of holding a bit of the curvature but hmm not sure not sure okay we might need to sleeve those edges and unmark them at least or just resharpen and just see what we can actually dissolve out you know i think this will be fine we could just take care of the bottom portion and call it a day on the rest because those have to be held so we'll get in here we'll do that we'll hide it go back to the high poly and hide that one save power save got another one of these weird things what we're going to need to do is duplicate that and move it um smart apply and you know the drill one segment set to weights with a recalculate i'm gonna have to offset that by one and then do that and let's offset this offset it again dissolve dissolve i'm really liking this checker deselect hotkey it is absolutely amazing okay so that one is good we're going to ctrl t alt j this area to clean it up ctrl t alt j shout out to jerry for showing me that trick never would have thought in that thought about that beforehand um these details could be baked on the high poly so we're just gonna hide that we don't need those i'm gonna get in here to this little door knob thing i'm gonna move that and go to the low poly and this area right here can be baked pretty easily so what i'm going to do is just delete that out and then we'll just fill this in i think f um the f2 add-on makes this easier right then we're just going to merge those together cool and then these aren't really holding the curve it will they kind of are i guess so perhaps we shouldn't dissolve those but we will dissolve these cool these right here gonna have to do some finessing this is actually from kid ops this little handle so unfortunately these weren't prepped so i have to deal with the uneven bevel counts here it's a bit annoying but i don't think these were intended to be for use with the game assets so you know what can you do still a good add-on can't complain i'm just trying to fix up what i can slide that a bit as long as you're relatively matching the curvature you're not going to see too many problems in the end um you can just fill that i guess and is there anything else we could do we could delete the back face we don't need that also can delete all that back area kinda this wasn't really this insert wasn't the best setup i've seen maybe what i'll do is move that one out hide it and then these areas we can dissolve out and then just fill that and just do some more random dissolves right there cool i think that'll be okay that should be fine we'll leave it is there a bevel around it there is so as a matter of fact we'll just fill the whole thing and deal with it later and we're going to hide that little doorknob thing cool i'm going to come down here and deal with this this can be baked or should be baked so it's a pretty detailed insert i'm not sure if i'm gonna end up keeping it maybe i'll just do a stamp and you know substance painter when i end up texturing that but i will duplicate this and move it set it to weight with one segment and then what we do is just um we offset it offset it offset it and then offset it cool this one's good and this one is good as well awesome so we're just going to have to recalculate that one turn on the heart of normals and we are so close to finish guys look at this all we have left is this portion here and this is going to be incredibly easy a cylinder is like two clicks right you just come in um to hit this twice let's make sure we don't have any weird selections going on okay for some reason doesn't want to check or deselect i just realized it's basically let's just select that one hmm i think it's because of the interior selection being there as well so we'll just do this one more manually that's fine awesome do the same thing for the inside here and then same thing for the inside cool and then at this point we do the trick we did before shift g the adjacent faces to dissolve that out and then we can just hold the f key and round that one in and then just do the same thing here i could have done like a symmetry but it'll take like the same amount of time setting up the symmetry point or maybe not i don't know either way i just uh did a little bit of this one off camera just quick enough you know but i'm just really finishing up the rest of these pieces right here they're incredibly easy they don't take too much time i just really gotta get in there and get to work you know all right i'm gonna go in here and smart apply gonna do one segment set to weight recalculate you know the drill i'm gonna come all the way through and let's offset that by one there we go this one could probably just be dissolved out and this one what we're gonna do is drop a loop like that and then just join it in that way and then continue this one up through here and that one should be okay enough i guess okay then we're just gonna go down here go all the way through same for that one okay cool fantastic okay offset offset cool then almost done with this piece and this is like the final stretch of this um low poly decimation portion and fortunately it doesn't take crazy long just depends on the complexity of the model and also keep in mind i didn't originally plan to make this model into a game asset so i probably would have done some different approaches had i originally intended for it so it would probably be even less time spent if i if it was that if that was the case excuse me so we're going to get rid of these going to recalculate i'm going to get in here and boom that one's done hide that one then literally one more right here this is the last one so it's going to be nice and easy going to get in here going to still has a solidify on it so gonna get in here we'll select this one manually because of the over runs on there it's not too big of a deal i'm gonna do that and do that and then ctrl t alt j this area and yeah i think that's it i think the rest of it is good go back in here and now what we can do is turn all of these on in the low poly and just take a look at all these guys turned on and this is going to be our low poly mesh right here so low poly and high poly and i don't know where these corners went i'll just duplicate the ones from here and move them over not really a big difference okay so here's the high poly you can see the difference in just you know regular detail and this is the low poly quite a bit less detail than the other one but there's going to be a pretty significant difference in the you know scene statistics here so this one has 19 670 tries but that is a with a bevel modifier i guarantee you it would be at least half if i turn the bevel modifier off on you know this whole area if i went in here and just you know turned it off on just a few portions you're already going to see we're like getting closer to 15 000 or whatever so i guarantee you this if we weren't using the bevel this would probably be around 8 000 tries or so that's my guess but um given that this is a no this is a pretty detailed object with a bevel modifier this is actually pretty decent and this is the point where we can just kind of look at the whole entire thing and figure out what else could we remove that could be baked pretty well and the answer to that is i don't think a ton really i mean maybe this little crevice could be removed but it's already kind of like a hole going in around there maybe this area could have been removed but it's not like a i think it's just going to look nicer overall there's not too much we could have really removed maybe these little portions right here but for what what are we going to save like 3 000 tries or something not even so it's just kind of like a balance of what is worth your time you know what's what's worth investing all that extra energy into removing now i'm not too sure why there's two in here i'm going to go ahead and delete that one not sure why there were two anyways looking at it though i actually do think that um this could bake right here but it's not going to make too much of a difference but i do think we could actually patch this area up i think this will end up baking quite well contrary to what i said before so what i'm going to do is actually patch up this portion because you know we can save a little bit more poly count right here so i'm going to go ahead and join up this area we'll select these verts move them and smooth them i don't know what tool i should use here space i i have no idea i'll just kind of move that manually but really what i need to do to patch this area up is i need to merge that i'm gonna merge this okay it's gonna be tricky yeah it's gonna be really tricky right there um we'll just delete those and then this can be like deleted okay gonna get rid of that you know this is all easy enough to remove so we're just gonna come in here delete out this extra cheese extra set of faces and merge this up yeah delete the faces delete that and that will be removed and i actually do think that's going to bake relatively well so i'm going to go ahead and alt x and hit that with a symmetry because this is a symmetrical piece so we're going to get rid of that let's make sure nothing's hidden in there you're going to see that dropped us like a thousand or so so it's not terrible and i do think the bake is gonna be fine regardless this might bake as well but i don't know if it's gonna be the cleanest bake so i'm not gonna bother with it trying to see what else i could remove well that's going to be for the latch detailing so i don't want to remove that all right so just to show you the difference here 18 770 tries with a bevel modifier and on this one 168 479 tries with a bevel modifier the difference here is these bevel modifiers actually have three segments whereas our low poly bevel modifier only has one and you can't really see much of a difference at all so it's gonna bake pretty well so just yeah just to show you the difference we made a very very you know big drop in terms of poly count which is incredibly important now i'm wondering why we have this weird shading bug going on sometimes what you can do is use a weighted normal but if we do it to one we're gonna have to do it to all of them when we join it together so we'll figure that stuff out later i guess and at this point we just have to check for any artifacts and the best way to do that is to go here to face orientation and check for any red areas so this right here i'm not too concerned with let me just um delete those out i don't even want that i'll just get rid of that completely cool um and i'm just checking for red area sometimes you'll see like skews of red which don't really mean much but like right here we have a pretty clear artifact going on so what we need to do it's probably an overlap on that so what i'm going to do is just remove that and that should be fine i'm going to go around and keep looking okay same idea for this one just a bit too close for comfort so we're gonna have to dissolve that one out and i also notice we're missing some edge markings right here and that can be merged right there okay cool and i think the rest of that one's okay i'm just gonna check the inside here as well are we missing any markings no we're not awesome so now is the point where we need to unwrap our model now what i do first is i unwrap and then i triangulate we're going to discuss triangulation later because it's important if you actually want to have a um a functioning n-gon mesh otherwise it's not going to shade or even render at all in a game engine let alone a texturing engine so uh yeah let's just uh get to work and start unwrapping now the unwrapping process is a lot easier than you might think keep in mind we're only unwrapping the low poly version because we're not text we're only texturing the low poly version we're not texturing the high poly version um and also i want to know why exactly it is kind of weird back here is it because the bevel's too big yeah it might be i'm just going to drop that make it a bit smaller okay cool and like i said i'm not going to stress about the shading in here because it's going to be hidden by that pipe anyways if we um go out of local view you're going to see the pipes hiding it so if i wanted to i could honestly remove those faces so yeah i'm not gonna bother with it though it's not too big of a deal okay so let's get to our process of unwrapping so what i do is i control tilde i remove these and i do apply seam only and what we can do is sharpen it actually since we already have our edges marked correctly what we could do is shift g and select by our um bevel weighted areas instead of redoing the sharpness and then ctrl e and mark a seam that way and these are like the general seams we want set up this is we're going to have to do some changes here but in general these seams are going to be fine and if you wanted a lazy seam job you could just leave it but i wouldn't recommend it so we're going to do is just call this material uvs and what i want to do is go to the shader editor go to texture um image texture new we'll do uv grid and just do 4096 is fine connect this up here and just see how it looks we're going to have to you and then unwrap it you're gonna see right up front it's not a terrible job it does okay but um we could make it a bit cleaner so first of all when i unwrap i usually set this to conformal conformal generally does a better job in terms of how it unwrapped see the skew over here if i yeah the skew going on if i unwrap it to conformal see the difference here it's a lot more accurate so i almost always use conformal now there's going to be some areas with obvious seams and there's a limit to how well you can actually deal with those on hard surface meshes but there are areas where you could actually improve this like for um right here for example i could probably let's go here to live unwrap and you know i could try clearing these areas this one doesn't need marked right here also we don't need a bevel right there either do we so we're going to clear the seam and then make this bevel weight zero i must have missed that one clearly sharp as well cool so we're just going to see what we can do here i'm not sure if it's going to be a ton but you know might be something this area is where it's a bit more nasty so sometimes what i'll do is i'll get into an area where we can't really see the seam we merge that together as well make sure you merge these close near near miss vertices together i've kind of missed some of those we'll have to take care of that and just double check but use what we can do to kind of fix this area is mark a seam in a portion where we're not going to really see it and just kind of see how that chooses to unwrap i'm going to come in here and clear seam right there cool um what else could we do doubtful we can remove that one that's just gonna probably skew in a bit too much but for these areas we definitely can just clear those should be able to and then for the back um do we even need that face i don't think so yeah i don't think we even need it anyways we'll do that this is actually a pretty decent unwrapping there the question is do we need these seams right here highly doubt it do we need these two seams right here also highly doubt it those were probably going to end up having to leave this is a very um meticulous process i'd say to actually get a result that does the work you want um this one we can probably remove and usually i'm just going based off the aesthetic here i'm like what works and what can i remove to make it not only the td a bit better but also just um make the unwrapping a bit more optimized so like i said i'm not going to really do a tutorial in this video because the thought process of this is kind of a bit confusing this would have to be a separate video but um if you really want to learn some of our unwrapping techniques you can pick up our essential techniques for uv unwrapping mini course it's ten dollars it'll be some of the best ten dollars you've spent if you're trying to learn how to do game ass on wrap-ins so i'd say just invest the money and grab it because we put some really really detailed stuff in there and for 10 bucks i mean i think the content is there is worth well more than 10 bucks but yeah we weren't trying to charge anything crazy for it i'm gonna come in here and mark that seam um we'll do this area a bit more manually clear that seam out this is looking a lot better i'd say okay we got a really nasty skew down here i'm trying to see can we just remove that okay i'm wondering why exactly it's so weirdly skewed well we're not gonna even see the seam in here so we can just mark it so it's not like that matters too much you can just hit that with the seam because the pipe's gonna be covering it so who cares this area we have you know areas where we have a seam in another seam like that generally you can kind of get away with removing it but you just kind of have to play with it and test it and see exactly what the results choose to give you i'm going to clear that seam there and i think we're going to have to have at least one seam in this portion so hmm what can we do we could clear that seam and then okay that's not going to work perhaps i'll just leave that for right now and deal with it in a little bit try clearing that one and don't over complicate it guys a lot of the seam stuff is just trial and error and figuring out what exactly um works and what doesn't and you know there's a strategy behind how i'm selecting these seams but in general it's it it mostly is just trial and error so i'd have to do like i said you can either grab that mini course or i could do like a separate video on it and discuss it a bit more in depth but this one just so long that i can only you know show you so much in terms of um this type of process so that should all be marked pretty nicely the thing with hard surface assets is the seams are going to be a bit more obvious depending on how yours is set up in this case it's still going to look good just because all the nice angles going on here so yeah i could probably get away with unmarking that and unmarking these probably not these yeah didn't think so okay so there's that one there in the back this one also just needs to seem dropped because like i said we're not going to see it so the best places to put the seams and this has always been the case best places to put your seams are in areas you can't see them or areas where you will barely see them rather but the best case is where you can't see them at all and that's the best place to kind of offset seams to those locations if you can um that generally will give you a much better and more more appealing result hmm we'll do it's not too bad i'm just gonna leave that one right there i think it's a bit cleaner okay let's try clearing this one and we keep getting this issue i'm just not digging this weird um skew we have going on this weird angle thing really not digging that at all and i can't remove this portion because it's just going to absolutely destroy the look let's see if this will fix it no it's not going to do what i want we'll we'll come back to that one that one's going to be a bit tricky also one very clear way to note like if you have continuous faces like this like spans of faces going up you can always remove these seams that continue along those spans that is one very important concept we show in that little mini course but that's just one way you know immediately which seams to remove so and that's what i usually do we're going to have to have at least one seam down here um i think there's already one up at the top so we'll be fine okay this is looking a lot better this one can be cleared we don't need that one we're gonna need this one to hold it because it's just gonna skew come over here we can remove this one because that's continuing along a span but it's actually gonna end up being a bit straighter if i leave it so i'm gonna opt to leave that one and maybe just remove that one and that one for some reason seems to remove just fine actually kind of surprised that worked but i'm not complaining if things work out i do not complain i just work and you know working and hoping for the best is sometimes just a valid strategy i swear you just get in and you're like all right i'm going to hope for the best here and hope it actually works now i guarantee you i have some missed merges i need to take care of here so i want to make sure i have no you know near-miss vertices in these portions random hull kind of chilling right there i have no clue what the hell's happening on the inside here something but it's going to be hidden by the pipe you know what i'm going to do i'm just going to just delete that out we can't remove that but yeah the other area we can just get rid of because look i'm waiting for the materials to load that pipe is just hiding it you can't see anything so that is cool and it might actually help with the seams as well so it's kind of like a double whammy okay let's try sometimes it's interesting how these seams affect different areas like that okay well if i'm gonna remove that whole thing i might as well just take care of all that as well i'm gonna try to be consistent with it okay unwrapping let's get in here and this is just me being extra not really no need to do all this i suppose but cool i'm just going to leave those alone you can't even see in there so i shouldn't be bothering shouldn't be wasting that type of a valuable time all right so i can remove this one i can remove this one we're gonna have to have these to hold i think we can try it and just see how it turns out it's a bit too skewed for my liking you're gonna have a skew either way i'm just gonna leave that in this one we're gonna have to leave in as well same for this one i think um this one we can we remove it yes we can and you know the more seams you can remove the better the you know results gonna look in terms of where the textures break off but for the areas where you can't really see anything it's like why are you wasting your time you know okay i don't think i can do anything here yeah it kind of worked kind of gave me something continues up there very nicely but you're not going to really see in there are you here you're not going to see too much at all i'm going to need one seam in there so i'm just going to keep it consistent and the only area i want to deal with now is first of all whatever the hell is happening in here just going to drop that seam and just clear that one no we'll just we'll do that cool okay so i'm liking this i'm gonna also drop a seam no not there okay anyways the only area i want to fix now are these weird chamfered areas because they're just bothering the heck out of me so i'm just going to find a connection point that's actually going to allow me to get away with um dissolving that portion out and it seems like that one worked to a certain extent but it's still not holding very well and i need this area to be straight just i can't deal with these skews those skews are not going to look good and are not going to give us a very clean result so trying to see why exactly those skews are occurring there i gotta really observe here i think it's the way it's curving around here's what i'm going to do i'm going to remove the front portion there and instead that is curious should we clear that seam that is a very interesting result i did not expect that i'm gonna just get away with that i think that'll be okay we're gonna have a seam somewhere in there anyway so you might as well just leave it like that but overall this is a pretty clean unwrap see this this is not bad at all i'm just really checking for any super obvious issues which i don't really see so yeah not too bad so now i'm just going to hop out of local mode with forward slash on the numpad and we're just going to do i want to do the bigger pieces first because they're a bit more obvious so what i'm going to do is just go to all these bigger pieces here we'll go to this one for example we're going to add the uvs material we're going to do the same thing let's um select one of these marked edges shift g bevel and then mark as seam and this one we could probably do a little bit of work on but we don't have to do a crazy amount so most of these edges are actually already correct but there are some like these for example that are continuous that we can easily remove and just kind of make the unwrap a bit cleaner overall i do think i want to keep these though i'm going to go down to here these are continuous across a span of faces here so this is a good example of where you can unmark and where you should unmark because there's no need to have a break here notice that there's just a break here for no reason you can just remove the seam because the rest of the seams surrounding the hard edges there are being held same for right here continuous you can unmark those but you're going to have to have at least one here holding it which in this case is going to be the top and we're not going to see the back anyways so at this point let's unwrap and we're going to have to have at least one sort of seam here so it's a matter of where exactly do you want to place it well i'm going to place it right there and end up getting ourselves a pretty clean result and don't worry about the td i mean the ratios are going to be different depending on the size so that's something we'll deal with at the end but for now i'm just worried about getting the materials in here and getting the uvs correct so that's all i'll be doing here we'll mark the seam and just the most obvious ones we can knock out first clear the continuous edges continuous edges here there we go we have some extra geo right here i can just remove that oops don't want to mark that i want to remove it okay that looks good just a matter of how much time i really want to spend on these uvs my guess is i could just stop right now and it would be totally cool but i'm just very picky with my uvs i don't i don't know why i just it's a very mathematical process and that's probably why i enjoy it i just like the analytical approach to it some people hate on wrapping i actually really enjoy it i think it's something that you have to get used to it's kind of like beer i used to hate beer but eventually you just kind of adapt the taste you know so that is in fact how i think unwrapping is now this is just taking up like extra space we're gonna eventually take one mirror it to save the space but we're once again gonna do that at the end so um for now my main concern is just getting these seams to look a bit straighter i mean this isn't terrible they're a tad bit skewed let's see if i could make these any better maybe not trying to see yeah they're a little bit angled but i mean i think the texture will be fine honestly we'll just view this as a bigger picture later on this one will be a super easy seam process we'll come in here uvs gonna mark like that and let's see let me turn off this bevel and edit mode here okay okay i'm gonna need all those i'm gonna need to dissolve those right there and at this point all these extra edges can go as well i still don't know why we have them okay just gonna do a regular unwrap and that one's totally fine i'm just gonna leave it okay we're gonna get these little guys up here okay go to this one going to go to uvs and take care of this you know the one thing i like about this whole process is this process used to be like really complicated for me but eventually once you get the habit down it's a super easy situation and this is kind of one thing i i hope others get to as well is that just practice enough and eventually it's just going to be second nature it's like a language you don't have to think about talking unless you're learning a language right i'm going to merge that there so yeah once you kind of master the language of 3d you don't have to think about it you just kind of start working and that's why i like about what i like about these processes here is they're very easy very straightforward and quite honestly very fun so like i said don't worry about the difference in td textile density it's not worth your time right now right now we're just dealing with all these other areas here just one at a time so we're going to come in uv's bevel mark the seam unwrap this one is basically fine we can clear the seams on that and on this let me add some stray geo there as well oh i could probably decimate this down even further maybe jeez the way this is set up is just so annoying i'll do that dissolve all these i should have done that earlier i didn't even realize i missed it get rid of all these extras this is because this one's a kid ops insert so it's kind of already supp that way i'm gonna scale all these cool and i just lost it where was it this one right here okay that one's done um i'm not gonna even bother with this one what i'm gonna do is shift d this one all the way down there we go and just save ourselves some time we'll do the same thing for this one this is a trim sheet material so i'm going to get rid of that i'm going to go to bevel control e mark the seam this one can be cleared this one can be cleared as well and you know there we go come down put it right about there or is that a bigger one i think there's a size difference here so maybe not maybe not this is going to be easy enough to unwrap any oh it's a completely different object that's why i'm going to mark that seam and clear that one call it a day this is a lot quicker than the low poly process i can tell you that for sure let's remove the mean crease right there going to go in um select based off the bevel mark a seam that way uvs um unwrap and we're gonna have to put a middle seam down and as for this e extrude s0 e extrude s0 okay this is curious this one isn't like a you know super obvious one but we'll just do something like that perhaps that was a bit of a sloppy uv right there but this is a very small portion you can get away with certain things in these types of situations to do something like that you know one way to learn uvs and understand how oh i see the issue you should be separated yeah these should totally be separated that's why no wonder it wasn't working well let's try to unwrap this manually now ah perfect okay cool i was like i was confused and i was like screw it i'm just gonna do this which i'll still keep cool but yeah if you just study video games and look at how they're unwrapped so you're gonna realize they're not perfect and oftentimes it's it's a waste of time to be perfect with them because there's better things to do it's like do you really want to spend two hours moving this tiny detail when you could spend that on something so much more important you know that's how it should be i'm gonna come in here and mark the seam and we're gonna have to have a seam jotted here somewhere that's the thing with cylinders that there's always going to be an obvious seam so you might as well put the seam um in an area where it's not going to be seen like the back the seam will never be seen so i come to this one same idea uvs i'm going to unwrap i'm going to clear this and then just right in the back here oh i missed that one as well cool that one looks good also e to extrude s0 and do something like that cool and then for these two i'm just going to delete them well first i'm going to duplicate these up and literally just oops selected the wrong one there we go those two are deleted and now all we have left are just these few other areas if we already take care of this we'll just do this one real quick we come in here uv this one that one was super quick this one right here will also be easy so i might as well knock this one out i'm gonna oops wrong one or maybe not i'm gonna come in here clear these seams clear these seams as well and that's going to be a good result this one i could just duplicate this one but it's honestly going to take the same amount of time as if i just went in here hit it with the seam unmark a few of these okay we are getting there there's not too many left i'm going to do this one because it's kind of standing out so we're going to go to uvs and i guess i never sharpened this one originally got to set this to weight set it to one segment and then we'll do is come in here shift g and oh it's already marked here so i also need to go here shift g seam and mark that with a bevel weight as well anyways going to unwrap this and that one should be good next we'll go to the one behind it i'm going to set this one to uvs same idea mark the seam let's try that again shift g bevel there we go we could probably clear that one out and call it a day cool we're really close to finishing this one this is actually quicker than i expected okay now we're gonna go here um uvs bevel mark the seam unwrap and we have continuous faces right here so we can clear the seam on those clear the seam on those and also there shouldn't be a bevel weight right here at all i don't know why there's any of these sharp we have all these on here so let me just get in here and first of all clear the seat clear the sharp clear the seam clear all that we don't need anything marked there we can actually resharpen it and maybe not okay let's go in here and just unwrap it again okay we need a seam probably down here to hold those faces and yeah i think that'll be okay um it's a bit warped right here it's not a huge deal though i'm going to leave it cool i'm going to go to this one i'm going to go to uvs you know the drill i could skip through all this but i really want to show the whole process because i know there's some people who actually will watch these whole videos and learn a lot from them so um i don't want to disturb that curvature right there i'm going to leave that one cool and then we have this one uv's um bevel this is another one i forgot to do the bevel count on resharpen before i do that let's do resharpen that way and then remove them okay bevel mark the seam we don't technically need a seam in there but who's gonna see it no one and we're gonna need a um seam in this corner here there we go and we have one more i'm gonna go here bevel mark the seam you can probably clear those out and any continuous areas as well i'm just going to leave that and there we go this is our entire unwrap this is going to be glass technically we're going to have to unwrap this as well so just the glass always tricks me out i always feel like you don't have to do it for that one but of course you do just depends how you choose to render the glass and blender and unreal whatever you're doing and we're gonna have to have at least one marking here to hold it cool all right so we have the full unwrap here this is the entire thing and at this point you kind of have to think to yourself um so do i want to use multiple materials to make the textile density a bit better do i want to do all of the unwraps on one single set of uv's like how do you want to do it and that's kind of what you have to figure out for yourself and i'm probably just going to do all of this on one single thing or i could do the door separately and the little background wall separately you know there's two different solutions there as well so that's actually what i might do i might do this portion here completely separately so i'll just do the door on it soon and we'll just use two materials which means a bit more draw calls but there's always going to be kind of a balance of power there that you have to figure out what you want to do so zen uv is a really good add-on for uv and stuff i can't recommend it enough especially if you're going to be doing game assets a lot more frequently but a nice and simple way to do this is you go into edit mode and select everything as is and you just unwrap it and take a look at the result and this results actually pretty good it's not too bad but we want to keep the td kind of uniform here now in our essential techniques for uv unwrapping course and our game asset course we kind of cover zen uv and how you can take full advantage of that and i'd recommend you know either taking those or watching a video on youtube or whatever but zen uv is just so powerful now i'd be lying if i said i knew all the ins and outs of zen uv but uh i at least know enough to get around so we're gonna go in here and now in here zen uv and i just want to do a zen uv unwrap and this actually does a a much better result than blender i've noticed so that's why i tend to use this one and you can also kind of change the settings in here but anyways you can kind of see the difference here there's blunder unwrap and zen uv i don't know it's not like a huge difference but i mean it works um and also you're gonna see we have kind of like a lot of cyclic type of areas here which could definitely be sorted to kind of separate these into more quadrified areas and have more optimal geo so for example i could go in here and press the l key and it's going to select this and what i'm going to actually end up doing is going up here and just marking some sort of seam in there and that's going to end up kind of quadrifying that area keeping it straight and you can do all sorts of cool stuff that way make it more optimal so that's kind of the kind of what i want to do here um these little cyclic selections not sure where those are even coming from i guess this portion right here if i can select this separately and take a look what i'm going to do is mark a seam in there and that's going to be something a bit more optimal and i can also remove this back face because um [Music] we're not going to see it i'm going to see this one either so get rid of that cool and this is where i just kind of start optimizing areas that i can kind of break down at least a little bit and you can turn on this um sync selection tool so you can immediately see what you have selected okay down here we'll just go up in the corner and [Music] um control e mark seam there we go you're going to see this is a lot more kind of like rectangular and this is going to be a lot better for uv space so this is just kind of all interconnected somehow so overall it's uh it's pretty good can't complain too much there i'm gonna go in and hit it with a zen unwrap and take a look okay i got another cyclic selection right here this is all kind of connected let me go in and see what else i could kind of separate here not too much if i'm honest i could put that as a seam and that might give us a bit of a better solution there we go and we're already getting something a bit better the goal is to split these islands into smaller portions if possible but the issue there is you want to try to avoid the seams as much as you can and that can be the trickier part and this is the area if i go into face mode this area right here that i would ideally like to split but i'm not too sure where exactly we should put that specific selection i mean there's a lot of potential opportunities i you know i guess you could do something here but it's just not gonna there's gonna be a pretty obvious scene there which i guess isn't the end of the world but i think the result might be a bit better okay let's see what else could be kind of split and these could be straightened right here um you can use the uv squares add-on i gotta go into face mode to select those and as long as they're a set of quads uv squares will actually straighten it out i gotta turn this off i guess and it'll kind of straighten it out that way cool so yeah that's a pretty good tool as well if you can get things straight not as curved like this as well um this could easily be and this is where quads do come in handy because when you do have quad selections you can easily straighten them like that but um it just kind of depends what you have going on it's a much deeper subject than i can possibly cover in here that's for sure this is definitely this definitely has some overlaps and you can actually check that with um zen uv so what i want to do is select this portion right here so i just recorded a bit more and realized my mic was off but you didn't miss too much um the issue in here let me show you the reason there were overlaps in here is because there wasn't a seam marked in this area you're gonna see right here literally all i had to do was come in here and marcus seemed i don't know how it got removed but somehow it did and that actually fixed the problem so that's what the issue was and all i'm doing now is just checking for additional overlaps and generally the overlapping issues are just geometry issues because if it's geo you're probably going to get overlaps if it's if your geo is fine you're most likely not going to get them so we need to do is check the overlapped islands there's a few more not many but most likely it's just another geo issue so i'm gonna get in here and take a look and you're gonna see there's a random seam right there that is just there for we don't need either of these actually not sure why i did that and that's almost fixed another overlap right here and overlaps are very common on these types of models guys they're going to happen you just have to know how to fix them and you're going to see once again geo issue well not really a geo issue but a seam issue there's no seam marked here and that should just about be everything maybe not quite um it says there's an overlap right here i don't think it's an overlap i think it's actually some additional geometry we might have unless i'm wrong let's go ahead and check we're getting a little bit of an inconsistency right here also can make that a bit lower poly some random edges just chilling here not sure why get rid of those and i think this might just be a false positive i'm not sure let's see if marking that will kind of solve that issue yeah it did cool and you're going to see this is a lot better so now what i need to do is first of all let's zen unwrap everything again and i want to go into face mode in the uv editor and i just want to get in to uv squares and do um two grid by shape i'm gonna go out of here and just look for all of these that i can at least straighten out right and um i'm going to go in here to grid by shape and sometimes easier to highlight everything to see and they have to be quads otherwise they won't straighten out very well but this is probably good enough and now we need to do is go into uv pack master and pack these islands and you're going to see there's actually a lot of empty space here so you can usually pack it a few times and kind of see what results you get um in this case actually i shouldn't have done that again if you unwrap it again you're gonna have to re-add the uh straightened areas by the way okay i also forgot to unwrap the rest of the mesh with this because i am stupid so we're gonna try that again i was in local mode i didn't even realize it i knew something was off and let's just check if in let's zen unwrap this first of all and then check the overlapped islands in this case which shouldn't be too many like right here we have some weird issues going on which i want to fix um let's take a look here and see why exactly that's occurring it's a good question i'm not sure let's see what else we have check overlapped island sometimes you'll get like these weird false positives by the way so what i need to do is come in here and check right here we have a pretty obvious overlap and let's see oh that's because we don't have a seam marked here for whatever reason i'm gonna go in and just fix that check the materials i can almost swear i did this material right here but maybe i didn't anyways not the time to really worry about that if i didn't do it i didn't do it no use worrying why just fix it okay we're gonna do that that should be dissolved out and this needs like a significantly smaller bevel this is such a small piece that it's not worth worrying about zen unwrap select overlapped areas and sometimes you'll get these false positives this is not really a false positive just this is just a mess right here and i'm really curious let's go into face mode instead and seeing why this one's occurring okay just a minor seam issue i did the rest off camera because i'm just wasting a lot of time with the random stuff um so what i want to do is come in here zen unwrap one more time do a final overlap check and i've already checked these they're some false positives you want to check them in face mode and you can see there's actually no overlap occurring there so i'm not too sure why it's marking it as such but at this point we want to this is the last time we need to do this we need to go in here we need to go to uv squares and straighten out these ones that can be straightened mainly these two and um let's see is there anything else this right here where is that what does that correspond to i'm going to put a seam at the top if i can select it there we go because that'll actually straighten it out and keep a loop for us essentially so maybe i should check that before i start straightening everything out let's check this one i'm going to put a seam where it's least obvious probably right here and that should keep everything nice and straight i'm just trying to avoid these loops right here i'm gonna go here mark that okay getting a lot better this is all see this unwrap this is before we packed it so this is actually gonna be a pretty good pack i think another little loop on this area i need to find that i'm just gonna come in here and hit this with a mark seam like that okay let's try this again what else is looped this thing i thought i already did that i'm just going to drop it right here it's such a small piece that it's not significant it's still showing i'm i'm just gonna isolate this one and see why it's yelling at us maybe i just need a single seam right there okay i think that was it i don't think it was continuous in the way it should have been so select everything let's try another zone unwrap cool so i think we've gotten pretty much all the significant loops that could be straightened here's another one right here we're gonna see what that corresponds to whatever it is i can't see it well actually no i can it's the back area which you need to seam right there to pull it in and this is still the same same location i put a seam maybe i need to do a continuous seam like that or i could clear that one and instead just do that just then unwrap a few more times and are there any more significant loops here i don't see too many to be honest anyways this is a good time to go in here one last time and i'll select these areas and just grid them out straighten them out i'm gonna also need to do the same thing for here i'm gonna need to two grid by shape that area also this looks like we could straighten that it looks like a set of quads which is good straighten that out any more significant ones we could deal with i don't i don't see any okay i'm gonna pack this a few times see what i can get i could probably get like 0.74 i'm feeling it yeah look at that what are the odds of that 0.74 awesome and that's probably about as as good as i'm going to get i could hit it again and 0.741 wow yeah 0.741 is going to be like the best i'm going to get here i think but the the good thing is this is super packed and looks good okay now that we've confirmed that the unwrap is good and everything's good to go we can combine this into one physical mesh so what i want to do is first of all make sure all the mods are applied except the except the bevels sorry just going to smart apply everything that's how i do it and ctrl j to join it all together but what's gonna happen is um whatever the active one is is gonna it's gonna override the bevels with that size which to me is fine because they're all roughly the same size based off what i did now this red means we just got to flip the normals and should be good to go and you're gonna see it's um all joined together now the unwrap is good we're gonna make a power save and let's um zen unwrap it one more time and that should fix the weird td issue we had on the handles i have no clue why it does that but it does and we're just gonna have to do this one more time this is so repetitive but um luckily we only have to do a few here so and i don't know why you have to turn off the sink selection that's also pretty dumb to me i don't know why that makes any sense and i know there is one more in here that we were able to straighten out but i don't see it there's this one right here we could straighten that one out just trying to straighten what i can you know just to make things as clean as possible and this one right here okay is this one does this one have end oh i need to be in face mode okay what the heck to square grid okay this one is just have an absolute frenzy with me so i'm just going to go ahead and pack everything and unfortunately we're going to probably use that beautiful pack we had before but i think we get back oh 0.744 look at that it's even better everything happens for a reason okay this is a really really good result right here i love that now this seam right here somewhat bothers me i just don't know we're gonna get a better one it's not like a huge deal um i could do something like this yeah but this is gonna be like a continuous thing i'll just leave it where it was and if it comes down to it we can deal with it but i think it's going to be fun cool this is a really really clean unwrap i'm curious what this is right here what are you talking about josh i don't see anything it doesn't matter it's like the pipes there the pipes there who cares you know you can do little cheats like that from time to time okay awesome so now that we have these what i want to do is alt h the refs and good lord hide that cutter's collection so this door is done we can just call this a door and hide that and this is gonna be a completely separate unwrap over here it'll just be two separate objects to really get a nice td on both of them but this should be a very very straightforward setup we're just gonna go in and um let me dissolve those out oh no because that's a little wedge let's not do that okay cool so we already did this unwrap earlier so we're just going to go in hit it with a zen uv and take a look that's really nice i like that um a will select everything and we could definitely take care of these little cyclic selections we have going on so what i think i'll do is mark a seam up in here mark one up in here and do something like that it's a little bit turned around though which is curious let me see what happened if i hit another setup like that nothing as a matter of fact i think i know the issue it's because these are joined together well first of all this is where we can get into the mirroring part um to save a uv space since these are identical i can use a mirror and overlap the uvs in this case so that's exactly what i'll be doing so now the unwraps will be overlapped so i can just deal with this side only and this will save us quite a bit of space you can already see how much it's like basically double that textile density which is fantastic okay so we have that we could also mirror these pieces so i'm going to go ahead and delete and mirror and that should be good okay cool nothing else we can really mirror i guess these two could be mirrored but it might be kind of obvious i'm not sure so i might not depending on the material you use it could be pretty obvious so um this is already pretty good anyway so we're going to leave it and just see if we can get a good pack okay we have a lot of extra space here which i do not like at all what happens what would happen if we mark down here there we go that kind of solved this point eight one nine point eight zero five point eight three eight so you're gonna get a pretty good one um anyways let's just do that little smart apply and join everything together and just you know now we're gonna have to unwrap it one more time unfortunately but i always like to do my uv test beforehand to make sure it's all good which it is so because if i join things together then i have to undo it and if i run out of undo steps i have to go separate it by and it just becomes a pain so might be a bit slower but it's okay that's 0.813 let's get like .83 that'd be nicer 0.817 that is fantastic so there's one thing i want to kind of point out and i don't think it would be a huge issue in this situation but i am going to show you so these two objects are close to each other this one was like a 0.74 for the um packing and this one was like a .8 something those are so close that you can't really see a difference in the res but if you end up getting objects that are like behind each other like this and the res is like look completely different like you see that that's going to be very obvious because you're going to have really high resolution textures here and really low ones here but these are so close that you won't see a difference but generally um if you're like in a studio or maybe someone reaches out to you they'll probably give you a set td that they want you to stick with especially for objects that are kind of closer to each other to avoid that type of situation but in this case it's so close together that you can get away with it easily the human eye can't really decipher the sizes there if you go into the side just it looks about the same see that if it did bother you there are some um td tools like for example what i realistically i probably should just stick with a lower one because they're closer together but there are some td tools in here you can use in textile density you can research that on your own if you have zen uv but now what we have is an unwrap for our door here and the unwrap is by far the most annoying part so the last thing we need to do last but not least is we need to triangulate this object remember how i said you could use ngons in your static game assets well you can 100 but you have to make sure you triangulate it because the automatic triangulations done by game engines and texturing softwares are not going to render at all they're not going to render properly so what i usually do is i keep it non-destructive maybe we'll start with the door and i add a triangulate modifier after the bevel and we can go into wireframe and take a look at how it triangulates and basically what i want to check for is any um any sudden overlaps caused by that triangulation and i can kind of turn that off and on and you're gonna see right here we have a bit of a pull um but we can um let's remove that yeah we have a bit of a pull that actually fixed it what we could also do is instead of using hardened normals we could use a face away to normal above the triangulate or below maybe and you're going to see this triangulate actually did a pretty good job we just want to make sure the triangulations don't overlap which is actually what is um happening in most game engines if you just export with ngons straight away it usually doesn't do the best to give you the best result some of these don't give the best result either like this front face um usually what i do for these types of situations is i join like this so let me just go in here this is probably the best way to join ngons that are situated like this is you um let's just select these areas and do something like that now you're going to see if we check the triangulation result it's a lot more elegant in that case and you got to really check for these poles in the corner because if you get pulls in the corner um there's going to be an issue with the with the shading in your game engine another way to check this is to turn on the clamp overlap but okay that just caused a mess it's turned off and i just really want to check in here see if there's any obvious situations and you could clean this up you know more manually if it really bothers you it just depends how much you prioritize your time on these types of things usually just doing things manually where they're necessary are going to get you the best result so we're going to go in here and that's going to get a bit of a better result but overall this looks pretty good i have my face orientation turned on so i could pretty much immediately see any red this red's fine but any problematic red that's actually causing the problem right here we have some pretty heavy pulls but these triangulation should be okay what i'm going to do is use the face influence feature of our bevel modifier and that's going to give you even more accurate shading results yeah i think this is a good result here so that's pretty much done and we need to triangulate that one but we also need to triangulate this one and it's going to be the same idea let's do affected hard normals off um triangulate modifier preceded by a weighted normal set to face influence and that'll probably give you the best results okay maybe not looked a bit weird um anyhow these are separate so we want to do is just check these check for any weird pinching or pulling that is causing problems in our bevel like right here for example you're gonna see the triangulate is actually causing some grief right here you can do something like that it's a really tiny bevel at that point though isn't it that's not too bad it still looks okay i just want to make sure we're not getting overlaps that are actually going to cause cause a problem because that will just not render properly in the software as we're using so cool i think we're good turn the triangulate back on yeah i don't see any real issues let's do one more quick fly around check see if that's a significant issue right here is really bothering me so let's try turning this to none face influence off that shading right there needs to be fixed we could try affecting the weight a bit or in this case we could just use harder normals and that might actually be okay just depends on the uh on the values you see like right here that's where heart of normals wouldn't work very well and this is why i would go for a a way to normal solution because that will actually fix it so you have to compromise for some of these areas here and just kind of play with the settings and see what you can get keep sharp would be the cheap way out but um it actually works pretty well and you can also use a weighted normals based off vertex group so if you wanted to isolate certain areas like for example i could technically go in here hit it with a vertex group group 001 and then invert the selection and this could be like i guess i didn't really need to put group 001 but uh you get the idea okay that's still selecting that's not what i wanted let's go in here going here invert the selection click assign okay why are we not selecting there we go now it decided to work so then we can go in here and set it to group 003 and only affect that portion so very powerful techniques you can employ in um in blender let's just check the size of these bevels cool that'll be fine all right so we're looking good the low poly is essentially finished here we're just going to go ahead and take a look yeah i don't see any real issues and and the surefire way to know if there's issues is to simply bring it into marmoset tool bag for baking and you'll know basically immediately it depends if it shows up or not if it doesn't show up you know it's not um working properly so at this point the door underscore lowe's done we have to also triangulate the high poly if you want to bake properly and this is where things can get really tricky if you don't do it right but i'm going to show you some of my techniques here so first thing i want to do is we don't have to unwrap any of this so just right off the bat i want to um yeah i just want to come in here and we'll smart apply this whole thing let me power save again and we're going to have to triangulate but you're going to see sometimes the triangulations can get pretty tricky when we have the high poly and we're just going to have to see how it works by default this is pretty heavy now you can have the worst triangulations on your high poly and it's not going to matter because the only reason we're using the high poly is uh it's purely for baking after we're done baking you could throw the high poly away and i wouldn't recommend it in case you need it again but you see my point we'll never need the high poly again it won't matter so usually right off the bat what i'm doing you can see like right here is an example of the triangulation causing some pulls but overall this bevel simply needs to be a bit smaller and what i would recommend doing is copying these bevel values to both for the best baking results because that's just going to get you exactly what you want so we're going to do that and we'll go back to the high poly here cool so i'm just going to try the default triangulation and if it doesn't work i have some additional strategies i could show but from the looks of it even though it's pulling a bit it seems like it's working okay so i'm gonna leave it at that and we're gonna have to go to all these other pieces here and i'm going to hide all this because it's kind of in the way cool so we're going to go in here and just make sure everything is smart applied and ready to go and let's let's join it together and i want this one to be the um the active object this guy right here so ctrl j i'm gonna have to flip the normals it looks like and it should pick up the triangulation it looks like it applied it and that's because i smart applied this one i didn't mean to have that one selected i want to smart apply the rest there we go then we'll shift click on here ctrl j to join and then we can flip the normals there and now we should have a non-destructive triangulation going this is pretty heavy this is this is causing all sorts of problems unfortunately as you can see here this is where the triangulate gets messy but it was already messy beforehand so um what i'm going to do this is a situation where it's not worth my time this is where i would delete these out and use these as a normal stamp inside of substance painter because it's just going to actually this is going to be too much of a pain to deal with so i would just import the normal map for something like this and then paint it or stamp it inside of substance painter so i'm just going to actually get rid of those same for this one right here this one's just too heavy this little grate or whatever it is so i'm going to delete that one out as well we can just use a normal stamp and call it a day trying to see exactly what these things are there we go select those and delete those out cool so let's go back in check the triangulation i'm just going to look for any visible red artifacts we might have going on which i i currently don't see and yes i know the triangulation looks absolutely atrocious here but we're only using this for baking then we're going to be discarding this model anyways or the high poly one at least so that one's good that one's done um what we need to do is alt h the other area we can hide this and then for this area what we're going to do is let's go to the door underscore low real quick and i'm just going to copy and paste the bevel value over so we're kind of keeping consistent so we're going to go in here copy that um let's smart apply everything and join it to this object then we're going to go in add a triangulate and this one should be fine as well blender actually has a really good triangulation algorithm when they have that modifier running okay you're gonna see prime example of where it doesn't work so this is where you're gonna have to get in here and do some of this manually or just dissolve out these random edges we have just kind of chilling like these little corners don't know what these are doing so we can just get rid of them this is a nice thing about not having to unwrap the high poly is because if we did we'd have to make so many different changes so frequently and just be annoying cool so check that check that and um get out of local view alt h and it looks like we're good to go i'm gonna actually remove these materials here just to keep everything nice and clean cool so here's the high poly and then here's the low poly once again low poly high poly you can kind of see how the detail is going to get big you can get a nice preview and this is probably going to bake very nicely because of how the details kind of overlaid when we preview the two the forms following very nicely i mean everything is looking pretty good and that's exactly what i was going for so yeah i think this is going to make borderline perfect well i don't know about perfectly there's always going to be some issues but now we're going to go ahead and get this thing exported so the first thing we need to do is um make sure we name these things accordingly so for this one i want to name it door underscore low and then for the door underscore high well you can probably guess it it's gonna be door underscore high but first of all let me just find it i'm not sure why it's all like weird like this but anyways door underscore hi and that's for all these empties i am deleting them delete i don't need those and don't need whatever the hell these cutters are doing i'm going to delete those and okay cool that's good that's good i think i think we're fine anyways so that's going to be door underscore high and then we're going to have door underscore low so it's fine um let's make sure we're isolating these and then we're going to have this one right here which will just be back underscore low can name whatever you want of course and then this one will be let me get rid of these as well because all the modifiers are applied this will be back underscore high now these underscores are kind of important because you can sort them in um substance painter based off the underscores and i think marmoset requires it as well this is just how i've always done it and it's worked for me so what i need to do is go let me turn off the objects here we're going to turn on the door underscore low and i'm just going to queue settings export fbx which has selected objects ticked on i'm just going to call this door underscore low and i'll just make a new folder on my desktop um actually i already have a folder right here this game prep and folder or whatever so that's door underscore low and then we're gonna have door underscore high i keep getting these confused right here anyways that's gonna be door underscore high settings export fbx door underscore high now we're going to do the same thing for these we're going to go to back underscore high so that'll be back underscore high and then we'll have the back underscore low so just make sure you keep those low and high naming conventions very important cool so this looks pretty good it's going to be the low poly and now we're going to hop into marmoset and get this thing baked cool so marmoset is not really tricky to learn it's pretty easy you go up here to new bake projects and what we want to do is load in our let me find it i don't need that folder anymore um this game prep and folder we're going to go to door high and door low we're going to do all the back ones later for now i just want these so that's going to be door underscore high and door underscore low and the controls are a bit weird i'm still not used to them you hold alt and left mouse button you're going to see this thing loaded in just fine now what you want to check for any are any shading artifacts because if you get those that indicates you had an issue with triangulation but i'm not seeing any now the real teller is if the high poly worked because that's where you're most likely to have an issue and it looks like the high poly was fine as well like i said blender's triangulation algorithm is pretty good at avoiding potential artifacts if i just exported this straight into marmoset and did not triangulate this thing would be a collapsed mess of geo and this is why you can't use n-gons and games in that way because it would automatically triangulate but if you do it beforehand properly you'll be good to go so this is the high poly right so high poly and of course we have the low poly and we want to bake this and this is really easy going to go to 16 samples gonna do a 16 bit channel 4k the normal stuff now i want a big curvature ao material id i'm probably going to bake separately so i'm just going to leave these three and what else do we need to do i'm looking you know i think that's it so what we're going to do is go to preview and we have to make an output path for the bake so i'm just going to go in here and just call this bakes and we'll call this door and i'm just going to save this as a png is fine then you just have to wait for a marmoset to do its thing so let it bake and eventually you're gonna see kind of all the details will pop on it once it's done it has to bake quite a few things so it will take some time but as you can see it's working doing its job not sure how long it's going to take but now i'll pause the video oh never mind it's done there we go that is a pretty clean bake if i do say so myself that's amazing this is why you should not use blender's baker it can be done but it's longer not as accurate and marmoset just has the best bakes and i'd really recommend even if you have to get like one less coffee at starbucks per week it's worth it you can get the you get marmoset for 300 bucks per petrol license which i have or um you can pay i think 16 bucks a month and they might have like a student version or something i'm not sure but i mean look at this this is just this is amazing see this i i knew the spike was going to be be fine because i've just used marmoset so much that i know how it's going to turn out and it's amazing now this this bothers me remember i moved the high poly one up i actually think i forgot to do that on the um okay i did it on the low poly i think i forgot to do that on the high poly so i'm just going to go back in here and do that and this is you know you're probably going to have to go in blender here and there to fix that or fix little issues but not really a big deal we're going to move this up and i'm just going to re-export this and bake okay i don't know why that didn't move up cool there we go and then we just hop back in here and just um literally export back over it so this is going to be the door underscore hi right export over it hop back into marmoset and um we're just gonna have to bake it again unfortunately not really a big deal though let me go back in here run through it 16 16 do a 4k curvature ambient occlusion um we got to load in those assets of course so door high door low just make sure they're both in here and then we just go back in and repeat the process cool so you can do some pretty cool things in marmoset like painting skus painting offsets things like that and um normally you'd do that if it looked a bit too dimensional but this bake was actually pretty clean that i don't have to do too much to change anything you're gonna see you might have some weird baking artifacts like on the inside and things you could paint out if it bothers you enough so like this for example is kind of annoying so i could come in here and paint the offset a bit and just kind of tap around there and sometimes it'll um give you better results we'll just play with that this here is basically just a cage defining kind of the baking rays and how those get affected so you can do that and you can play with things and just see if you can get a better result which is always a good thing um okay i messed it up even more let's go back in here and let's clear it try it again and you can hold ctrl to kind of inverse the way it goes i mean you're only going to get so far in terms of the practical results here so you can play with it and just kind of see what you can get it doesn't have to be perfect i mean you can look at any bakes and really any game and kind of see it's they're not always the cleanest i'm going to clear that offset i don't think that was a good job but um yeah yeah i mean you can go in here and try to fix out those issues if they uh if they bother you because rest assured they are going to be there i mean it's always going to happen it's going to be something you have to deal with so you can kind of try to get in here and play with this i mean i probably have to research kind of how the the bake offset works a bit more but um overall that's like the general strategy to using it where else do we have some bacon issues kind of down here there's some weird stuff going on you can also use this estimate offset tool which i actually just used and it um actually kind of cleaned it up a bit so i mean there's a lot of things you can do to clean things up i'm not gonna go too in depth on this video i'm turning this more into a tutorial when i originally just planned to work and do things that way i think this is kind of a baked in artifact no pun intended but you know some of these you can only fix to a certain extent these are actually fixable surprisingly i can try to do something like that um you know just kind of move around and see what you can get little bacon artifact in here i'm just going to do this off camera because it's so boring cool so this is a result i'm actually happy with and you know sometimes you can actually have bake artifacts that work to your advantage am i using this as an excuse kinda because sometimes there's bacon artifacts i actually see that almost look like edgewear and you wouldn't even be able to tell a difference especially once you add textures onto it so i mean sometimes you'll get those good or good bad bakes whatever you want to call them and usually i'll just leave those there but if they're just really obvious and look nasty i do try to fix them but uh these are fortunately much smaller you know the smaller areas are where the base get more tricky but this is actually a pretty clean result right here and we can't see the back because of course we deleted the back this is meant to be like a doorway behind that wall right and once you preview it it actually saves the maps to the folder you defined so we don't have to do anything at this point we can just save the scene and um we'll just call this door and then save it then we can hop into substance painter and do some work but obviously i want to bake the other one as well so we'll do that real quick so same exact idea we go here gonna do 16 samples 64 is just overkill in my opinion do a 4k because you know 4k and we're gonna load in these two and at this point we just cross our fingers that we have no disruptions well we shouldn't really have to cross our fingers because um we did a good job checking so you should have noticed beforehand but this is just kind of a surefire way to know if there's issues and i don't see any and what's this what's this that is a weird artifact but i don't see any disruptions so i'll um i'll let him go let's go to here let's go to low and at this point we just want to preview it preview the bank so we're gonna have to make a new path this one's gonna be um we'll go back png and then just wait for marmoset to do its thing and just a few seconds here and there we go very very clean result see i thought these would bake okay did a pretty good job at baking i think let me go back in here real quick did this one have the okay it did i was curious i didn't know if that would happen okay yeah this is good i don't see any real issues this uh this is actually uh in terms of disruptions around the bakes a bit better than the last one but obviously less stuff was actually baked on here so these little holes bake pretty well yeah i like that so that means the map should have saved at this point and how do i clear out these errors i don't need them anyways we're done i'm just going to save this scene right here we'll save it as back tool bag scene save and now i'm going to hop into substance painter and get this thing to work all right after a long and mighty and uh powerful fight with substance painter with adobe products we finally managed to figure out how to renew our subscription because mine was apparently expired took me literally 20 minutes to simply find out where to hand the money to renew my whenever adobe takes over guys i don't know what they're thinking they have good products but jeez it's like their design of the websites are just god awful i sent him an email too i was like you guys got to fix this this is ridiculous because i was i was kind of pissed it shouldn't be that hard to hand someone money i'm like anyways i'm gonna get too annoyed over that but what we're gonna do is import the door underscore low because we don't need the high poly anymore we've already baked the maps so document resolution is gonna be 4k um normal map format we're gonna do a um a directx but literally you just flip the green channels if you need to go to the other ones so it's like it doesn't really matter which one you select so um what else do we need to do okay we need to import those maps we're gonna go to bakes and we're gonna select the three we have right here and import cameras auto unwrap i don't think we need to do any of this and we're just going to click ok and just wait for this to load in and there we go okay cool so now we need to do is go here to the texture set settings we have the size we're going to go in here and choose our normal map and that'll load in we're going to choose our ambient occlusion map that's going to pop a lot more once that loads in as you can see and we also have our curvature map which is so important for detecting the edges of our objects so just as like a starter material i always like to warm up the substance painter just because um i want this bar to be on the bottom here i'm going to switch it i'm used to having that they changed the substance to adobe substance 3d so it's not they change things up a little bit but overall it still looks pretty much the same so what i need to do in here is find myself a good material so we're going to take a look i'm actually still getting used to this myself i guess they changed the i i would have preferred the names over here but i'll probably get used to this i guess we're just going to kind of see what materials we have here by default um there's probably some good ones there's this guy there's what's this let's take a look at this one see how it looks um what we're also going to probably need to do is add some id maps that's probably going to be uh something important worth doing let's just kind of see how these basic materials add at first yeah not too bad okay we're going to need an id map i almost forgot about that but fortunately these are really easy to add in and i'll show you how so here in blender what we do is we go into edit mode for our low poly and we just start um selecting the portions we want to have the certain id map on so this is all joined together so things can get kind of tricky so i'm just going to press um let's see we'll go in here and just press the l key on these areas and then we have to do is we have to go into vertex paint click on this button right here and what we can do is choose a new color shift k and then we'll add a color to that area and this is you know super easy stuff to add in so we can we're going to have that um we're going to need to grab one for here and it's just kind of the same process just change the colors a little bit as long as they're not the same hex code you'll be good to go and you also want to be able to differentiate them as well because that's kind of important so i want these to all have the same type of material so we're going to do that we'll go into vertex paint and for the ones that are like clearly going to be a different object i'd recommend using a completely different color shift k and it's going to give us that so looks good we're going to have this piece and then this piece i'm just going to keep repeating the process get like one of these or something shift k okay i think i have the wrong selection here whoops so i want it to be this one and this one there we go let me move my mic a bit closer so i can actually sit back there we go i'm gonna do shift k and we just keep popping in and out of edit mode it's really easy process i'm gonna grab this this part of the pipe and this pipe right here okay evidently i can't select it so we'll just do that cool then we'll go back into vertex paint we'll do like a yellowish color shift k the door should be easy enough just press the l key and this is going to kind of be like a uniform material for that whole thing right there so we're going to go to vertex paint and i want to make this one a very very obvious color we'll just do like a red and that's really going to pop this one i want to be completely unique so it's going to be like a glass so maybe to represent glass we could do like a um i don't know glassy type of color like that and it's looking good i'm just going to make sure we didn't miss any let's go back into vertex paint and take a look okay gonna have to get this one and get these little hinge pieces so i'm gonna go in and press l here press l here and i think these hinge pieces should have the same thing as well keep it nice and uniform we'll do like a purple oops make sure you turn on this button right here shift k and then i think the last one is this thing down here so i'm going to go into edit mode press the l key you're going to go to vertex paint and then do like a super blue color maybe not maybe like a pink cool and that should be everything am i missing anything i don't think so awesome so we're just going to go in here i'm just going to save this real quick make sure we have that and what i do need to do here is um re-export this so we'll just do export fbx fortunately we don't have to bake and marmoset again so don't worry about that we just have to reload the substance stuff so door underscore low and load that in we'll just hop back into substance and it's just going to be super easy 4096 choose the low poly add the maps here and the fbx should have the id map kind of embedded in there we just have to bake it in substance really easy so and substance bakes are pretty good as well so you could do it in marmoset if you wanted to i'm going to discard that we're going to go here select the normal ao and curvature just like we did before we're going to have a pretty clean result there you can kind of see the difference with the ao the ao is incredibly important really makes those crevices pop a bit more anyways now we need to go to bake mesh maps and i want to bake the id and i don't want to bake anything else we're going to turn all those off and what is this the i don't need you can use the high definition mesh to determine id maps but in this case we don't need it we're just going to do vertex color for this one and bake selected textures and boom there we go now we have that id map loaded in as you can see cool so now say i wanted to add in like this um glossier but i only wanted to affect a certain area i could go to add mask with color selection and then for example pick that color and the rest is pretty much good so that's a pretty powerful technique to do stuff like that now i want the door to mostly be a um a white sci-fi type of color so i do want to add some bump to it and things like that uh what a lot of people like to say is oh you shouldn't be using smart materials it's cheating and this and that and i think that's absolute because why would i spend extra work using default materials and there's some pre-built ones i can customize i understand you know the issue of repeated similar type of textures you might see on like art station but when you customize it you won't really see that and situations like this don't even show that much anyway so what i'm going to do is come in here and just kind of see how these are affecting the different areas just kind of you know dirt scratches things like this i'm going to remove the base color right there i think that'll look nice and we have scratches and we have that which i think i i'm gonna remove as well i don't want those and we can just really come in here and you know add additional stuff but the main type of style i'm going for is like this you know white-ish looking laboratory door now obviously these hinges and stuff are going to be metal so we're going to want to use some sort of metal and i'm going to kind of come in here and just see what looks good i can try this iron old which probably shouldn't be old because you know this is like a sci-fi material and go in here and look yeah something like that would be good then what we can do is add a mask with color selection and pick um you know those areas right there and that would look pretty cool and you can come in here and add some edgewear and stuff like that all right what i want to do here is add in a fill layer and i want to make sure we're only affecting the roughness on this one i want the roughness to be like incredibly low here and then i want to draw a mask with color selection and assign it to that one and just kind of see how that looks not really a window type of effect now is it um let's go to color and try just playing with the color here i guess like a lower black value kind of gives a cleaner result i was trying to use these materials here they just didn't look very good for what i wanted so i just did something a bit more manual and it kind of gets the job done it's going to look a lot better you know in blender if we render this anyways i dropped a few more um of these materials here i just went to the second one just use the color selection i can keep picking the colors as i please so i dropped a few more there i want to have like a main black and white contrast here for that good sci-fi feel all right so i'm definitely going to want to do some normal stamping at some point but um for now i want to get a little bit of edge damage and just kind of see how that looks you don't want to make it too too damage or kind of will lose that sci-fi feel in my opinion so let's see we could do hmm there's some smart materials already built up but i think i'm gonna do this one manually and kind of figure out exactly what i want um let's try okay that's the glass this is the dirty this is the iron forged let's just look for something like this put it at the top and see how that looks okay i don't like that one i don't like this one probably gonna be pretty picky with this one so bear with me this isn't too bad it's a bit heavy on the um on these values i'll have to see okay um what i want to try is adding in a black mask here and then i want to generate the white values through a generator on the edgeware so we're going to go to curvature and just kind of play with that and yeah that really well obviously it's too heavy but it definitely is going to pop once we adjust these parameters here so i want to go to global balance and just kind of play with that there's that looks kind of like that blur or um balance rather but what i do want to do is kind of pull it in a bit more so we got to go to the curvature drop down and really work with this and generally what i'm doing is just playing with the sliders and seeing what does what that's like literally all i'm doing here because it's kind of self-explanatory what these sliders do but you don't really know for sure until you play with them so usually i just kind of go in here and i see like you know what exactly kind of gets me the result i want we can make the balance a bit lower cool that's not too bad i'm going to want to paint that out using the mask in a little bit because i obviously don't want that to go around the glass it doesn't make any sense brightness is oh there we go the brightness is what is kind of solving that issue you're just going to see that as that little subtle kind of like sci-fi pop to it see that it's exactly what i'm going for and the question is do i want to apply it to every area and i mean it doesn't look bad but let's just see how it looks by only applying it to um this area right here going to also add in a color selection and just pick this area and just swap those and just kind of see the difference i think it's fine um i can't turn that off and see but yeah i think it's i think it's a bit better so i'm gonna do that this has that really nice edge wear to it you can turn it off and on and just has that nice subtle pop to it and that's exactly why we have that curvature map going on okay so that's good um the easiest way to get rid of this area right here you know where it's kind of rusting around that glass is to simply paint it out using a um black brush we're going to come in here we're going to need to right click and add in a paint and the properties and we want to make sure the grayscale is set to the black value otherwise it's going to end up painting it in which i don't actually want so we're going to turn that to a black value and just really get in here and just get rid of this it's really going to get in and just do this carefully because i want to make sure i'm not you know painting out those areas and i could probably pile on generators so it's kind of you know distributed around the curve but um i think it has that nice sci-fi feel where it is so you know we could play with it later but i like kind of how it's set up now i'm gonna really have to get in here and take care of this area i suppose it's fine in there so we can maybe just what i could have done is drop the flow a little bit but i've already committed so this is kind of like how i work in photoshop i'm very you know meticulous with how i work i want to make sure the detail is just right because you know quality game assets are something that i um i think i can have a lot of appreciation for because you can really see a game asset and be like wow someone put a lot of work into that and really paid attention to detail when it mattered and that's kind of the effect i want to have so there we go this looks so much better with that effect on the edges just less some less boring right a bit more of a feel to it and i'm going to go back in here to the curvature and just play with it a bit more and just kind of see you know what these values even do some of these values are a bit heavy and we're just going to end up messing with that mask if i do too much so i'm just gonna undo that all right cool um let's just play with the balance a little bit more i know i'm really sticking on this but and you're going to see it kind of pops in there a little bit more than i wanted it to but i kind of like kind of like that position it's hard decision to make we'll go to like 0.38 and just make it a bit heavier and then if we just go back to the paint this will be a really easy area to paint and i'm not going to bother with that inside there it's not a big deal so what i'm gonna do is okay that's the hardness i'm always mixing these up i don't think the controls to kind of scale the brush up and whatnot is very intuitive that is one thing i hope gets changed in the future but i doubt it because it's already in like all the tutorials and defaults so i'll eventually get used to it so this is looking yeah it looks really nice all right we can probably you know pile on more detail later for now i want to do some normal stamps and before i do a normal stamp i want to add on a fill layer and through this fill layer i want to run a stamp or like um like an alpha right so i need to go in here and find my alphas so what we need to do is um oh it's up here right i'm going to go to alphas and i want to right click add a black mask here and then add a fill and then under the grayscale i'm going to use this um little decal that i imported from um from decal machine from blender and i'm just going to use this as a grayscale value and what i want to do is actually have a bit more control over this there's some projection settings um that you know you can play with you can try like tri-planer and all that good stuff actually and but you know i want to actually paint it on so instead of using fill we can do paints and for the paint right here we can do a grayscale that way so it's not actually filling then if i paint that in it should yeah it'll work i just got to make it a different color here so we're going to go in and first of all let's go in here and make this base color really dark and go into the paint cool and i also need to make the hardness all the way up cool and this is like a bug that happens i think it's a bug at least what we need to do is find the full preview there we go it's not a bug sometimes there's like issues where it doesn't show up and i wish it was a bit more obvious i had to actually look that up on youtube thankfully someone in a comment showed how to do it so we have this and you know what might be a better alpha instead of just having a really clean it's still using the wrong um alpha brush but you know instead of having it really clean maybe having this like you know broken up or something and kind of deteriorated a bit would be pretty cool so we could actually go in here and try to change that um that option so when the brushes we can just go in here and just kind of play with it and see exactly what options there are right so we can go in and play with that that's a bit too heavy now isn't it i'm still using the wrong hotkeys you just want to find one that because like this you can't see anything it has to be pretty you know decent right we got to make sure it still makes sense so i'm going to go in here and just find something that is gonna work and you know it might be a better idea using just a very simple um one like this that doesn't actually have any bends around it we'll place it and then just do that a bit more mainly so first let's just place this it's a bit too big i'm gonna make sure it's just the right size i'm gonna do that and jeez these hotkeys are just really annoying not a fan of them at all i'm going to rotate that a bit and right about here yeah that looks good that placement i just want to make sure it's straight because i know it's going to bother me it's going to be how straight things are that looks good and then what we could do is simply go into like a more manual brush so instead of using this grayscale we can remove the grayscale go into like some you know dirty brush here and make the grayscale value um incredibly low and then just kind of you know splash something here and there but i want to use a low flow value for that one instead of like a full you know splash we can just do something really low and i could probably use the tablet for this but i don't have it out right now so i'm just going to kind of tap it with my mouse cursor and just kind of see what results i can get i don't want to make it too heavy i just kind of want to get in there and do a splash here splash there because i think that'll look a bit nicer and some of this you might actually want to have like you know removed almost to a certain point but that's just not going to look very good now is it so just going to kind of play with that it's too heavy i'm not gonna go that heavy on it i'm just gonna oops i i am so done with this um with these hotkeys here now that's pretty good i'm going to go back to white values and kind of oops just stamp this out a little bit kind of get in there and it's going to get around there so i'm just trying to avoid that yeah i think that's fine this is a bit heavy right here i'm going to go back to a softer brush there we go something like this i am really liking that looks good i'm just going to rename this to o3 because i always like to stack layers this one is for the curviness i don't know curvature let's call it curvature okay we're gonna have that that's the glass we have all this good stuff okay awesome that looks good i'm gonna make some normal stamps in these spots now so to do that what we need to do is add in a fill layer i believe and we're going to need to use the normal information only and if we just go in here we can actually choose those so say for example go into teaching mode again if i wanted to use one of these i could just you know drag it in and then we have that i keep using fill not needs to be a paint layer there we go so that way i can actually paint it in i'm going to take this drag it in and that should stamp just fine cool that's not too bad let's see what else we have i'm going to go to the normals only if i can find them fortunately we can just sort it here and just kind of see what little options we have because there's quite some cool ones in here that i really liked but this isn't too bad either let's see how this one looks very similar we're gonna do this one i think that was the same one i don't remember i'm going to go in here and stamp that one in now this might seem pretty you know useless because you can't really see it but this is all these stamps i'm about to add are going to really add up and this is the same decal process i'd usually be doing in blender and maybe i will add some more decals and blender it all depends but for right now i'm just um really trying to get something cool maybe in this one we'll do something different so that decal i had earlier was pretty detailed so perhaps that this one could be like i'm gonna drag this in it could be like a vent type of thing i don't like that and i'm sure i could import some you know manual ones if i wanted to and just play with it that way but there's plenty of options here to really work with i can try this one also i need to make sure that hardness is up let's do let's do the vent i think the vent will be the coolest one here i'm gonna need to make this a bit bigger yeah that looks nice see the difference just really pops that way cool i like that we're going to have to add in more stamps of course we could maybe do like a little something right here does that look cool or is that too much i like it but let's see how this one looks yeah that's good i like that also what i think would be cool is to have like a signifier using colors because the immediate place that we can pull attention to is to the door handle which is where you actually want to open that thing so you know the immediate attention pull needs to go to right here so i just pointed at it as if you could see it anyways i'm adding a fill layer and what we're gonna do is make this fill layer like a reddish type of color and what we're gonna do is add a black mask and then color selection and just move it to that and that's gonna really be a good indicator for like where to go that you know immediately the attention is going to be pulled to this portion right here and i just realized there's a little bit of leak in that area you know what i think happened i think the id map is leaking into this area so what i can do is um let's remove this alpha right here or get a new one type in shape and that's like the default one i think and then we can probably get in here and um just fix that up manually like that this is where a tablet could be pretty useful no one's going to really see this this is just me once again spending a bit more time than usual i'm kind of on my own schedule on this one so i could probably get away with it and that's totally fine if i missed anything if anything it looks like edgeware so who cares all right so we have that and i could probably add in a bit of dirt here no so let's go in here add in a generator and actually i need to run a new material on that so we'll just we're just going to wait for now this red will do looks pretty damn cool i like that you know it pulls the attention here immediately and if i ever wanted to change the color i could just you know get in here and maybe like a maybe a deeper red i kind of like the darker feel to it but a deeper red could also look pretty cool kind of like that i don't know i think they all look pretty good it just depends on the style you're going for i assume i want to add a bit more dirt here so what i'm going to do is take this steel drop it on the top i'm going to add a black mask and then just generate some dirt just a very basic dirt overlay because i think it'll look cool now we obviously don't want it to be this heavy we want to just have a very very um subtle portion you're going to see that one pulls in pretty heavily okay we have that we have the dirt contrast which you can play with it really affects this area pretty heavily i've noticed looks pretty cool though i i honestly like that tri-planer blending contrast all this stuff grunge amount could kind of drop that a bit but i almost like how it's kind of covering it's like an icy effect almost it's pretty cool um we can drop the opacity oops just kind of make it very subtle yeah that looks cool i like that now what we definitely need is some sort of material to apply to those hooks right there so i'm going to add in another steel and this one's going to have the same thing a mask but um a color selection so we're going to come in here add a black mask add a color selection i'm going to pick that and let's see could make the base color a bit i know a bit varied right there because why not and what we're going to call is just call this the hinges this one is going to be overlay dirt this one right here is going to be handle i always like to keep my names in order so i know exactly what it's referring to and this one right here is just the metal pieces this one is just general dirt there we go so now we got this whole thing in order cool so i definitely want to do some more work here i want to keep putting in normals and things like that so let's go back to the normals layer and just keep building on that i'm fine with just not adding another one i could duplicate it but we'll just keep doing the normals this way because we're we've already committed so we're going to go in here and just look for a cool looking normal and notice how i'm very strategically placing these details i don't put them willy-nilly like i used to i've actually kind of progressed a lot in that regard in terms of how to play stuff so we want to come in here and put a line there let's do a symmetrize let's go into where's the symmetrize button right here cool and i want to symmetrize over the z it's not like perfectly over it so i might need to offset that value a bit right to about there that should be like perfectly centered cool and then we can do something like that awesome we'll turn that off this is really looking cool i think we could definitely drop some sort of thing in here because this is like this is cut out but it looks like something should be there and you know empty space is good but in this case i i don't mean to get distracted but good lord look at these bevels they are sexy look at that this is why i use mid poly because they just look so much better overall i love it cool so we're going to get in here and put some sort of oh where the hell did the um where did it go oh it's right here i couldn't notice because that normal line was so small cool gonna drop that in see how this one looks not sure what that is ew that looks awful maybe i won't put anything in there maybe i'll just leave it like just like a simple line can i double click on these to add it in maybe i can just um use the little small helper in here and make life a bit easier i'm just always used to the left hand side because there's a bit more to see okay gonna do that maybe just like a small little line just to make some more visual interest now that looks awful as well you know what i'll just leave it empty maybe maybe it was meant to be empty so we'll do that but these normal stamps are really powerful this is why i remove that little grate we had earlier because i knew i could just do a normal stamp for it so i should probably also look on other websites to see what type of you know options are out there in terms of downloading these things because these are pretty cool i can do something like that now i need to make sure the let's make this a little bit lower we can do something like that maybe we could even add in symmetry line right there or down here and do something like that i don't like that i don't think the symmetry fits properly whenever i'm not feeling it i just don't add it because my brain's telling me no for a reason that's kind of my philosophy okay this is looking really good um we already put a stamp on there i don't think there's much more to add we could definitely add a little bit of visual interest right here so what i'm going to do so first of all increase that hardness i'm not messing up my key movements anymore as much because they seem to be clicking now okay let's just do a simple line the simple line one is always pretty nice to work with you just go in you can drop it in and yeah i think that fits just fine that actually pops a bit more that way as well and i'm very strategically placing these details a lot of people kind of play stuff willy nilly and no apparent location and that's not how good design works and i know this because a year and a half ago i had some pretty shitty designs and i worked my ass off the past year and a half trying to improve that and you can do the same exact thing and um and like a year you can really grow you just have to put in a lot of work i promise you guys i i'm not the most creative person contrary to what some people might think i made a video on that um the other day and some people were like i'm surprised you you know still get your mental blocks and well no creative blocks rather and of course i do cause i'm not supernaturally gifted at this and i think there's a certain level of skill you're born with but i certainly don't have a lot of it so you know some people would have probably spotted what to put at this point meanwhile i'm just moving things around randomly with no apparent motivation at this point okay there's some rectangles in here that might look cool and i don't think i want to put any on the top here i'm just kind of playing with it and just seeing just for a visual idea of how that would look i don't think i'm going to put anything there it just has to fit if it if it doesn't flow correctly with the details then it's probably not meant to be so i'm just gonna you know ignore it and move on to something else sorry to go in here come this way that doesn't look good either maybe we'll just take a break you know one thing i've always learned is that if you're kind of stuck on something move on to another part of it and it'll eventually come back to you through ideas generated by working on different areas now we could probably do here is go to the side and maybe put in some additional alphas here so what i'm going to do is add in we'll do a fill layer and what we'll do is make this really dark color we'll add in a black mask and then we'll add in a paint right here now what i want to look for is um just kind of see what the options are for the these alphas right here just look for some sort of like you know disclaimer text or not disclaimer but like property rights and all that bs whatever it is authorized personnel only you have to kind of consider does this make sense will anyone even see this on the side probably not so you have to really think about that i don't even know if i want to put this here at all just kind of thinking about it you know and we need to have a really okay the spacing is way off yeah i need to remove that position jitter there but i think it's just gonna be it's gonna be too cluttered maybe maybe not i don't know we've really gotta try it and see it's not bad it's just i don't know something feels off and my rules for when things feel offered and not put it now on the side here we could definitely put something interesting and i don't know if there's any thing that looks cool let's see this could be pretty cool maybe this is like an entrance door to something that's you know cold on the inside i don't know i want to put that you know align that with something that kind of fits we could see what else there is in here you know maybe this is at the entrance to some sort of radiation bunker but then if we put that that might indicate this is radioactive so you know these are the type of things i'm thinking about in my head does it make sense does it not make sense i don't know it's up for you to decide there's a lot of interesting ones in here but honestly nothing that i think i want i'll keep looking maybe something generic that's more open-ended would be okay that's kind of like a medical symbol so really got to be careful you know this is like a cool recycling sign i don't know what that is but it looks interesting not like a normal recycling sign so maybe we could do like a just a little something on the side there i don't like that either i don't know let's see how a panel would look over here what we can do is hop into our normal section and just kind of take a look at how one of these panels look i'm gonna search for normals normal there we go and just kind of see what panels we have it's quite a few i wish there were a bit more but can't have everything we'll try this one and just okay this is uh whoever made that one forgot to cut off the bottom portion so that is not going to fly with me this one we could see it might be too cluttered but we're going to try it yeah something doesn't fit right with me on this one might just be better to keep it empty to be honest with you whenever this happens i'm just going to go with something relatively simple we could just do a little notch like this i'm going to want to rotate that a little bit and move that down and then just something small could always bring a bit of visual interest to areas that are just a tad bit too empty for my liking so you could do something like that and that could work and then we could even flip it 180 degrees do something around here and that kind of makes it pop a bit more in my opinion i like that so we've done a lot here this video has gone on for pretty long so i think i'm going to do a bit more of this off camera because now it's just kind of getting redundant and i'll show you the final result i think it's good where it is i think you've probably learned a lot at this point um one more thing i do want to show and it's up here um you can change the quality of these shaders to something higher and it'll actually pop a bit more i don't know why it's set to low i assume just depends on the software you're using and also your machine but this is a bit higher quality you can kind of see it really begins to pop you could do ultra i think that's just overkill and um you can also change the hdri settings which is in here you can just kind of take a look at the different hdris and kind of see how it lights up that way i'm going to import the hdri that we had in blender let's import that to library import and just see how that one works in here it should have loaded in we just got to find it i believe it's here in environments yep here it is right here okay i think that needs um rotated see this this hdr i just looks a lot better this kind of has that more sci-fi feel to it so there's that one and this was the one we had before um whoops that was the wrong one environment rotation i don't know they both look pretty good it's kind of hard to determine i don't know what do you think it's a very tricky one to figure out they both look good it's this one's a bit whiter this one's a bit more kind of like getting picked up by the sun i don't know i think they're both equally as good just depends on the kind of color tint you want but i think i'm gonna go with this one because we had that one in blender you know i don't think i'm gonna make any changes here i looked around and i i really looked for anything that i just felt was off and to be honest i am really happy with the result here i think this is a pretty good set of textures everything looks really nice and if we what is this right here i was kind of debating whether to put this one in or not but i actually decided against it because i think it pulls too much attention away and it kind of causes a clutter of detail here composition wise and i don't actually want that so let's see how this looks if i were to disable everything here look at that boring i mean substance painter is just absolutely amazing and let's compare this to blender let's compare this to um my original file here we go so here's the original with literally just uh bsdf materials and blender and here's how the um substance painter result looks it's just it's so much better i mean look at the difference this is cool but there's no grunge and all the natural stuff that you'd see on a door like this this is almost too perfect and perhaps you want that maybe it's like an airlock or something i don't know but this just looks better to me so we need to go ahead and export out all these textures here we're going to go to file export textures now it's important to mention that blender uses opengl so we need to make sure we flip the normal orientation to the green channel or whatever so let's go to here we're going to have the pbr metallic roughness and what i want to do is um duplicate this and on this one i just want to go here and where's the normal which one do i do i just click on drag it in yeah that's what i do like that so now we're going to be running the opengl or however that works and finally we need to add in an ao channel so um the best way to do that is to create a i kind of forget honestly i forgot how to do it i need to watch the substance tutorial again okay i'm pretty sure what you do i remember i saw a tutorial on this a while ago but i'm pretty sure you do the grace i i really wish it was set up better here i shouldn't have to go through all this random code looking stuff and hope it works the ao should be there by default i don't need the emissive but i'm pretty sure that is what you're supposed to do for ao so yeah been a while since i hopped on that one so um we'll see what happens i guess i'm pretty sure that's it and another thing i need to do um is make sure i go to the filters here i need to go to normals and let me just look at the one up here so i know it actually works i need to add in a filter i believe and in the filter there should be something for the yeah this mattefx hbao and i'm pretty sure that pops the ao a bit if i'm not mistaken we need to actually change the source to normal not height and then it should work let's check i think the reason it's not working is because i don't have the ao channel listed in here so let's just add that and now we can check there we go now it's working i was like what the heck now it's just going to give it a bit of ao in those areas especially right here you're going to kind of see it it just pops a bit more and makes things just a bit more natural right here you're going to see the same thing really just pops and makes the normal map areas darker which is precisely what i'm going for especially these vents and just going to make things look a little bit better just kind of look all around yeah see this one this one really begins to pop and that's exactly what i'm going for okay cool now i think we're actually ready to export this thing and go to file export textures going to use that output template i guess it didn't save annoying that's okay we'll make a duplicate and then here we're going to remove the emissive because i don't need that we're going to oops not that one i'm going to go here ctrl c ctrl v a o and then dragging the ambient occlusion here is a gray channel and i'm pretty sure that will get us the result we want so we're gonna have um what are we gonna have ambient occlusion base color height metallic mixed ao okay normal normal directx and roughness that's fine so what i want to do is export this into let's see i'm gonna go to this gonna make a new folder and we'll call this exports and what do i need to do on this one the output template needs to be that's pbr copy right there file type we'll just do png let's do 16 bit and the size 4096 for sure leave the padding as is and then click on export and bring this guy into blender so now that we have the low poly right here let me increase the size of this a bit so as you can see with the low poly now we can actually drag in these maps and see how all this looks in blender because i prefer cycles anyways so what we're going to do is select this thing we're going to need to add we'll just do the uv's material or just add a new one and call it substance so we still have that uv's material if we ever want it i also make a power save of this one i'm gonna go to the shader editor and if you have node wrangler turned on you can control shift t this guy we're gonna go to exports and let's just preview these so hopefully these will pop up so we have the normal roughness base color height and i want all of these so we're going to load all of those in and just check to see how this work displacement normal um roughness metallic base color it all looks good to me just going to hop into cycles and take a look and there we go bring that right in the blender and we have a much cleaner result in my opinion so that's it guys i know this was a super long video but hopefully some of you were able to watch it and kind of just study and observe this is also a game-ready asset i could bring this into unreal engine and i'll do that as a little bonus right here to show you so we would basically do is import we'll go to the low poly fbx file and i'll just import everything quickly i'm going to go in here move this up and how is it wasd yep come down here we'll just put that right where it is maybe we should rotate it just so it's kind of facing the you know the sun we can actually see things yeah like right here and we're going to import the export files right here and you're just going to connect them up to the material so unfortunately you have to go nodes in here as well but they're pretty easy to get used to you'll go in here and um oh i just realized you can't see the whole screen so move this over make this a bit bigger and on this one basically what we do is we come in we drag our base color i'm gonna connect that up okay that's the base color then we have our ambient occlusion which i believe we can just plug in this way it's been been a while here we got the metallic and i think that's blue channel here if i'm not mistaken normal map incredibly important we don't want to forget that i'm going to connect that up we have the roughness map and i believe it's red to roughness and then we also have our what am i missing metallic base color oh we have the height but i'm not going to bother with that i think it's fine so we have one two three four five connected and if we just apply this we might have to add in a multiply node sometimes it ends up too shiny or vice versa we're gonna have to see what i'm probably gonna end up doing here is adding in a um scalar parameter which will just be multiplied by two so we're gonna go in here and for the roughness what i wanna do is connect this up there and then we're gonna do a multiply node so we'll go here and no sorry that goes in there and then this one should be here and then connect the red and it should kind of make things a bit rougher just kind of playing with it to see but you get the idea you can you can play with the settings that way and whatnot but as you can see the textures apply in here just fine no issues even if we go into wireframe and take a look let's go to where's the visual stuff it's under advanced we're going to go to show advanced mesh edges and as you can see it's no problem you just got to get everything set up properly and it's going to work just fine it's a static game asset so um yeah anyone who's saying don't use ngons in your games i mean it's just an all-encompassing statement that isn't necessarily true it depends what you're doing um [Music] it's it's such a broad subject that you can't simply just add that statement and assume it's correct for everything but there we go that's in unreal engine i prefer to have it in blender for rendering stuff and this is it in substance painter hope the video helped and by the way if it did guys i'm gonna link the um the game asset guide it's a pdf we have you can download it for free has a ton of cool stuff you can grab it on our website um so click the link in the top of the description go and grab that you can use it as a reference when you're making game assets so that's about it for today's video thanks so much drop a like if it helped and i'll see you in the next video

Channel: Josh Gambrell

Views: 36,509

Rating: 4.9650898 out of 5

Keywords: game assets blender, blender game asset, blender game asset tutorial, game assets, blender tutorial, blender hard surface modeling, blender hard surface modeling tutorial, hard surface modeling blender, blender hard ops, blender box cutter, hard ops, josh gambrell, ponte ryuurui, blender bros, masterxeon1001, unreal engine, marmoset toolbag, substance painter, quixel mixer, blender texturing, blender unwrapping, blender triangulation, blender boolean, blender bevels, 3d

Id: j3G9zn4cu-U

Length: 204min 31sec (12271 seconds)

Published: Fri Sep 17 2021